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ANTIQUE  GHIORDES 


Loaned  by  W.  & J.  Sloane,  New  York  City 


HOW  TO  KNOW 
ORIENTAL  RUGS 

A HANDBOOK 

BY  MARY  BEACH  LANGTON 

WITH  TWENTY  FULL-PAGE  ILLUS- 
TRATIONS, TWELVE  BEING  FAC- 
SIMILE REPRODUCTIONS  IN  COLORS 


“ Were  a man  to  live  as  long  as  Methuselah 
he  would  never  cease  to  find  fresh  beauties 
in  a Persian  carpet.” — M.  Charles  Blanc 


NEW  YORK 

D.  APPLETON  AND  COMPANY 
I9°5 


Copyright,  1904, 

By  D.  Appleton  and  Company 


All  rights  reserved 


Published  March,  190  \ 


DEDICATED  TO 

MY  HUSBAND 

WHO  HAS  MADE  POSSIBLE 


THIS  BOOK 


CONTENTS 


PAGE 

Introduction.  By  Joseph  F.  Langton  i i 
I.  The  Story  of  the  Rug  . . . 17 

II.  Persian  Rugs  . . . . .57 

III.  Caucasian  Rugs  . . . .103 

IV.  Kurdistan  Rugs  . . . . 1 37 

V.  Turkish  Rugs.  . . . . 153 

VI.  Turkoman  Rugs  . . . . 179 

VII.  India  Rugs  . . . . . 197 

VIII.  Chinese  Rugs  . . . . .217 

IX.  Silk  Rugs  . . . . *233 


Index 


239 


LIST  OF  ILLUSTRATIONS 


Rugs  Reproduced  in  Color  Facsimile 


FACING 

PAGE 


Antique  Ghiordes . 

. 

. Frontispiece 

Antique  Shiraz 

* 

. 

74 

Kermanshah 

. 

. 78 

Antique  Royal  Senna 

. 

82 

Saraband 

. 

86 

Feraghan 

. 

90 

Kashan  Silk 

. 

98 

Kasak 

. 

1 24 

Antique  Koulah  . 

. 

160 

Bokhara 

. 

182 

Peking 

. 

222 

Persian  Silk 

• 

236 

; Reproduced  in  Black-and 
Khorasan 

•White  : 

66 

Daghestan  . 

108 

Tzitzi 

1 18 

Shirvan 

132 

Persian  Kurdistan  . 

140 

Mossoul 

150 

Bergamo 

168 

Samarkand  . 

230 

of  Oriental  Rug 

Countries 

26 

List  of  Illus- 
trations 


INTRODUCTION 


The  demand  for  Oriental  rugs  in 
America  increases  rapidly.  A few 
years  ago  they  were  little  known  out- 
side the  seaboard  cities  and  a limited 
number  of  collections  elsewhere;  but 
to-day  there  is  scarcely  a town  in  the 
country,  East  or  West,  where  they  are 
not  used  and  more  or  less  intelligently 
discussed.  They  may  now  be  said 
to  have  become  a permanent  factor 
in  house-furnishing  everywhere.  We 
have  turned  to  the  products  of  the  East 
because  they  possess  greater  artistic 
merit  than  the  work  produced  in  this 
country  or  Europe. 


1 1 


How  to  Know  Oriental  Rugs 

There  are  four  qualities  in  Oriental 
rugs  which  commend  them.  First,  is 
durability.  The  life  of  the  average 
domestic  carpet  may  be  reckoned  by 
a few  years,  while  that  of  the  Oriental 
product  can  be  measured  by  decades 
or  generations.  Second,  should  be 
named  their  artistic  beauty  of  design 
and  coloring.  The  Oriental  work- 
man knows  how  to  combine  colors. 
In  a general  way  other  makers  are 
only  imitators,  who  reproduce  de- 
signs found  in  the  East.  In  the 
third  place,  we  secure  through  them 
economy  in  furnishing.  While  the 
outlay  at  first  is  undoubtedly  large, 
yet,  in  view  of  the  wearing  qualities 
of  rugs,  owners  possess  something 
which  has  real,  permanent  value. 
Fourth,  may  be  named  the  sanitary 
conditions  which  attend  their  use. 

12 


Introduction 

House-cleaning  with  rugs  on  the  floors 
ceases  to  be  altogether  a terror.  In- 
deed, housekeeping  in  general  through 
them  is  simplified  and  placed  under 
better  hygienic  conditions. 

The  literature  pertaining  to  rugs  has 
not  kept  pace  with  the  use  of  them. 
In  1892  the  Royal  Austrian  Museum 
published  a book  entitled  Oriental 
Carpets,  which  is  a large  work,  with 
reproductions  from  magnificent  color 
plates  of  some  of  the  finest  rugs  in  the 
world  as  collected  for  the  Austrian 
Imperial  Exhibit,  and  also  with  mono- 
graphs written  by  Sir  George  Bird- 
wood,  Mr.  C.  Purdou  Clarke,  Mr. 
Vincent  J.  Robinson,  and  others.  The 
edition,  however,  was  limited,  the  ex- 
pense of  the  work  making  possession 
of  copies  possible  only  to  a few  per- 
sons and  the  largest  libraries.  This 

13 


How  to  Know  Oriental  Rugs 

pioneer  work,  as  to  its  text,  at  once 
became  an  authority  on  the  subject, 
while  its  illustrations  enabled  read- 
ers to  gain  knowledge  of  some  of 
the  rarest  specimens  of  the  art.  In 
1900  Mr.  Mumford’s  valuable  but 
somewhat  expensive  work,  Oriental 
Rugs,  appeared,  and  greatly  stimu- 
lated interest  in  the  subject. 

In  view  of  the  almost  universal  de- 
mand that  now  exists  for  information 
on  the  subject,  the  present  more  mod- 
est work  will  perhaps  be  accepted  as 
timely  and  may  serve  to  meet  an  ex- 
isting popular  need.  The  author  has 
made  a close  and  careful  study  of  the 
subject,  and  has  had  valuable  assist- 
ance from  Mr.  L.  B.  Searing  and 
Mr.  George  H.  Stevenson,  of  New 
York,  and  from  the  rug  buyers  of 
large  New  York  importers,  as  well  as 


Introduction 

access  to  the  collections  of  several 
well-known  houses.  Her  aim  has 
been  an  entirely  practical  one — to  tell 
readers  How  to  Know  Oriental  Rugs. 

The  plan  and  arrangement  of  the 
book  will,  I think,  commend  them- 
selves to  readers.  The  opening  chap- 
ter, for  example,  The  Story  of  the 
Rug,  contains  a brief  survey  of  the 
entire  field,  giving  an  outline  of 
weaving,  materials,  dyes,  and  designs, 
as  well  as  of  the  symbolism,  history, 
and  artistic  qualities  of  rugs.  In  the 
succeeding  chapters  various  classes  of 
rugs  are  described.  Each  is  placed 
in  its  proper  geographical  environ- 
ment as  to  the  country  where  it  is 
produced,  and  the  manners  and  cus- 
toms of  the  makers  are  set  forth.  The 
peculiarities  of  patterns,  colors,  ma- 
terials, and  workmanship  are  there 

*S 


How  to  Know  Oriental  Bugs 

in  detail  explained.  The  map  of  the 
various  rug  districts  should  be  of  pe- 
culiar interest  and  real  service.  The 
illustrations  are  reproductions,  in  col- 
ors or  black  and  white,  of  photographs 
of  rugs,  which  have  been  selected  not 
so  much  as  unique  specimens,  which 
they  are  not,  as  because  they  are  rep- 
resentative as  types.  Let  me  bespeak 
for  the  book  a kind  reception. 

Joseph  F.  Langton. 


St.  Paul,  Minn., 

December  7,  /poj. 


I 

THE  STORY  OF  THE  RUG 


2 


I 

THE  STORY  OF  THE  RUG 


The  handicraft  which  has  given  us 
Oriental  rugs  is  very  ancient.  Its  ori- 
gin is  unchronicled,  but  as  Egypt  has 
been  the  mother  of  so  many  arts,  we 
may  well  believe  that  this  one  had  its 
origin  there;  for  on  the  sculptures  of 
Beni  Hassan,  dating  back  twenty-six 
hundred  years  before  Christ,  are  de- 
signs of  carpets  not  unlike  those  in  use 
in  rug-making,  while  Diodorus  tells  us 
that  the  Egyptians  spread  carpets  for 
their  sacred  bulls  to  lie  upon.  Ebers, 
in  Uarda,  represents  the  floors  of  the 
apartments  of  Katuti,  which  were  fur- 
nished with  royal  magnificence,  as  cov- 
ered with  carpets  in  which  “ the  foot 
sank  in  the  thick  pile  and  we  know 

19 


History 


Egypt 


How  to  Know  Oriental  Rugs 

that  Cleopatra  reclined  oil  couches 
spread  with  rich  carpets  as  her  barge 
sailed  to  meet  Antony. 

Babylonia  Babylonia  rivaled  all  ancient  coun- 
tries in  her  rich  textile  fabrics,  among 
them  carpets  made  of  wool  with  a pile 
like  the  Persian  rugs  of  to-day.  Pro- 
fessor Sayce,  writing  of  the  Babylo- 
nians, says  of  their  carpets:  “They 
were  woven  in  bright  varicolored  pat- 
terns; the  figures  of  men  and  animals 
were  depicted  upon  them,  and  the  bas- 
relief  or  fresco  could  be  replaced  upon 
the  wall  by  a picture  in  tapestry.” 

Persia  When  Cyrus  extended  the  bounda- 
ries of  Persia  west  of  the  Zagros 
Mountains  that  country  fell  heir  to  all 
the  arts  of  the  Euphrates  Valley,  and 
from  that  day  to  the  present  has  main- 
tained a foremost  place  in  the  products 
of  the  loom,  giving  to  the  world  the 
most  beautiful  carpets  ever  made.  She 
has  been  the  teacher  of  Greek,  Arab, 
20 


The  Story  of  the  Rug 

Turk,  Turkoman,  Afghan,  and  Hindu, 
none  of  whom  has  ever  surpassed  her. 

The  Greeks  of  Asia  Minor,  as  early 
as  Homer’s  time,  practised  the  art  of 
rug-weaving,  for  in  the  Odyssey  we 
read: 

Fair  thrones  within,  from  space  to  space  were  raised 

Where  various  carpets  with  embroidery  blazed. 

The  work  of  matrons. 

The  Arab  was  a ready  pupil  in  the 
textile  art,  and  through  him  the  Moors 
carried  a new  industry  into  Spain, 
where,  in  Cordova  and  Granada,  these 
Saracenic  weavers,  in  a style  peculiar 
to  themselves,  made  most  splendid  car- 
pets to  adorn  their  palaces  and 
mosques. 

The  crusaders  took  back  to  Europe 
a knowledge  of  and  a desire  for  the 
luxuries  of  the  Orient;  and  soon, 
through  the  Italian  cities,  Persian  car- 
pets found  their  way  to  all  parts  of 
Europe;  and  later,  in  the  thirteenth 

21 


Greeks 


Arabs 


Taken  to 
Europe  and 
England 


America 


How  to  Know  Oriental  Rugs 

century,  through  the  Spanish  ambassa- 
dors who  preceded  Eleanor  of  Castile, 
they  were  taken  to  England,  where,  in 
the  royal  palaces  and  cathedrals,  they 
were  used  as  wall  decorations  and  as 
floor  coverings.  From  that  time  on 
Europe  has  grown  in  her  appreciation 
of  this  art,  and  has  come  to  recognize 
and  highly  prize  its  products.  In 
England  Oriental  rugs  have  been  pop- 
ular since  the  middle  of  the  nineteenth 
century,  when  many  were  made  ac- 
quainted with  Eastern  fabrics  through 
the  great  Exhibition  in  London  in 
1851. 

Some  of  the  most  beautiful  antique 
rugs  are  in  American  homes  and  col- 
lections, for  the  American  is  rapidly 
becoming  a connoisseur  in  this  art,  and 
all  classes  are  yearly  showing  a greater 
interest  in  it.  Few  are  the  homes  of 
taste  and  refinement  where  one  or  more 
rugs  are  not  found. 

22 


Uses 


The  Story  of  the  Rug 

While  the  Western  world  uses  rugs 
chiefly  as  floor  coverings,  to  the  Orien- 
tal they  were  the  only  furniture  of  his 
house,  serving  as  carpets  along  the 
sides  and  end  of  the  reception-room — 
the  center  usually  being  left  for  the 
servants  who  waited  upon  or  enter- 
tained the  guests;  taking  the  place  of 
divan,  pillow,  and  cushion  covers ; do- 
ing duty  as  portieres  or  wall  hangings; 
placed  before  the  open  fire  as  seats  of 
honor,  or  at  the  door  as  a token  of  wel- 
come; serving  as  beds  at  night,  which 
might  be  rolled  away  in  the  daytime. 
They  gave  warmth  and  cheer  and  a 
sense  of  comfort,  as  they  do  with  us. 
The  rug  has  always  been  used  for  re- 
ligious purposes:  in  the  service  of  the 
old  Egyptian  temples,  in  the  decora- 
tion of  the  walls  of  the  Kaaba  be- 
fore the  time  of  Mohammed,  as 
altar-cloths  and  as  canopies  in  proces- 
sions in  Christian  cathedrals.  In  the 

23 


Religious 

Purpose 


How  to  Know  Oriental  Rugs 

mosques  of  the  Moslems  and  in  the 
temples  of  the  Buddhists  rugs  have 
had  a place. 

Prayer-rug  The  prayer-rug,  which  has  been 
called  a “ creed  in  color,”  originated 
with  the  Mohammedans;  and  wher- 
ever the  faithful  follower  of  the 
Prophet  may  be,  at  the  hour  appointed 
he  spreads  his  rug,  with  the  mihrab, 
or  niche,  toward  Mecca,  and  prostrates 
himself  for  his  devotions,  with  his 
head  resting  on  the  rug  at  the  point 
and  his  hands  outstretched.  Prayer- 
rugs  are  made  small  for  children  as 
well  as  for  grown  people;  and  occa- 
sionally one  is  found  with  three  or 
more  niches,  as  if  intended  for  a whole 
family. 

Saddle-bags  As  in  the  East  the  horse  and  camel 
are  almost  the  only  means  of  travel, 
saddle-covers  and  saddle-bags  are  uni- 
versally used.  The  love  of  the  val- 
uable steed  makes  it  a matter  of  pride 
2 4 


The  Story  of  the  Rug 

to  the  owner  to  caparison  it  richly;  and 
there  is  an  opportunity  here,  as  well  as 
in  the  furnishing  of  royal  palaces  and 
in  the  durbars  of  India,  for  the  dis- 
play in  gorgeous  trappings  so  dear  to 
the  heart  of  the  Oriental. 

In  this  day,  when  we  hear  so  much 
of  handicrafts  and  the  union  of  the 
artizan  and  artist,  it  is  interesting  to 
note  that  the  thought  is  almost  as  old 
as  the  human  race.  The  early  He- 
brews acknowledged  the  Divine  Spirit 
in  the  gift  of  handicraft.  “ Them  hath 
he  filled  with  wisdom  of  heart,  to  work 
all  manner  of  work,  of  the  engraver, 
and  of  the  cunning  workman,  and  of 
the  embroiderer,  in  blue,  and  in  purple, 
in  scarlet,  and  in  fine  linen,  and  of  the 
weaver,  even  of  them  that  do  any 
work,  and  of  those  that  devise  cunning 
work”  (Ex.  xxxv,  35).  All  Oriental 
art  has  this  stamp  of  human  labor  upon 
it,  and  shows  not  only  the  skill  of  the 

25 


Oriental 

Handicrafts 


How  to  Know  Oriental  Rugs 

hand,  but  the  thought  of  the  brain.  In 
Oriental  textiles  we  are  impressed  with 
the  art  spirit  of  the  cunning  workman. 
The  East  seems  permeated  with  this  ar- 
tistic life,  which  has  been  kept  alive 
through  all  the  ages. 

Artistic  While  the  makers  of  Oriental  rugs 
MRugs°f  are  PeoP*e  very  primitive  habits, 
who  have  been  to  no  schools  of  art,  but 
have  simply  followed  their  native  in- 
stincts, their  fabrics  possess  unrivaled 
artistic  qualities,  which  add  beauty 
and  elegance  to  our  homes.  These 
people  seem  to  have  an  intuitive  per- 
ception of  the  beautiful,  which,  fol- 
lowed out  in  this  handicraft,  has  made 
their  work  the  admiration  of  every  one. 
We  stand  lost  in  wonder  before  many 
a finished  product  of  the  loom,  and 
would  read,  if  we  could,  the  thoughts 
The  Rug  an  written  thereon.  For  as  each  rug  is 
Ex^eas^lon  the  expression  of  an  individual,  are  we 
Individual  not  justified  in  thinking  that  joy,  sor- 
2 6 


The  Story  of  the  Rug 

row,  love,  deep  religious  feeling,  and 
sentiment  of  home  may  have  found  ex- 
pression in  this  work  of  the  hand? 
Surely,  the  rug  made  for  the  hour  of 
prayer,  when  every  loyal  Moslem 
turns  toward  his  holy  city,  must  em- 
body many  a prayer  in  its  very  tex- 
ture; or  the  one  intended  for  an  offer- 
ing at  some  shrine  or  for  the  adornment 
of  some  mosque  must  express  some- 
thing of  the  devotion  the  maker  felt 
for  his  holy  places;  the  fabric  de- 
signed by  the  young  girl  as  a gift  to 
her  future  husband  must  have  had  the 
colors  and  patterns  selected  with  the 
constant  thought  of  the  lover  in  mind, 
as  the  one  for  the  covering  of  the  grave 
of  a friend  must  be  indicative  of  ten- 
der memories;  the  hearth-rug  which 
is  brought  before  the  open  fire  for  the 
guest  of  the  household  possesses,  in  its 
very  texture,  the  color  and  warmth  of 
hospitality  so  prevalent  among  these 

27 


How  to  Know  Oriental  Rags 

people.  May  not  one  which  holds  in 
its  threads  the  wish, 

May  every  act  of  thine  prosper 

And  every  year  and  every  day  be  to  thee  spring-time, 

have  been  meant  for  some  beloved 
monarch?  Into  those  intended  for  the 
home  as  floor  coverings,  wall  orna- 
ments, couch  covers,  portieres,  or  pil- 
lows, may  we  not  think  the  wife  or 
mother  has  woven  an  expression  of  her 
love  and  devotion  to  each  member  of 
the  household?  We  are  led  to  believe 
this,  for  the  work  of  rug-weaving  and 
designing  is  a domestic  art,  and  has 
fallen  almost  exclusively  to  women. 

Women  In  parts  of  India  and  in  Kirman, 
the  Weavers  where  the  Government  has  always  di- 
rected the  industry,  men  and  boys  are 
the  weavers;  and  in  recent  times  the 
great  demand  for  Oriental  rugs  has 
forced  them  to  this  work  in  Turkey 
and  in  western  Persia;  but  among  the 
28 


The  Story  of  the  Rug 

nomad  tribes  and  in  districts  where  no 
foreign  influence  is  felt  the  women  are 
still  the  only  makers  of  rugs.  The 
commercial  spirit  which  has  perme- 
ated many  districts,  as,  for  example, 
in  India,  has  taken  away  individual  in- 
terest in  the  work  and  the  finer  touch 
which  so  enhances  the  value  of  antique 
rugs.  When  individual  expression 
gives  place  to  the  commercial  instinct, 
the  charm  possessed  by  the  rare  old 
pieces  will  be  lost  to  the  art. 

Notwithstanding  the  poetic  side  of  Little  Envi- 
rug-weaving,  there  is  little  enviable able  in  Llfe 
in  the  life  of  the  Oriental  woman;  for 
while  she  seems  content  to  toil  at  her 
loom  for  the  support  of  the  household, 
as  well  as  to  do  the  necessary  work,  she 
is  really  a slave  to  the  master  of  the 
house,  and  her  life  is  one  of  joyless 
labor.  This  woman  “ seeketh  wool  and 
flax  and  worketh  willingly  with  her 
hands.  She  riseth  while  it  is  yet  night, 

29 


Process  of 
Weaving 


How  to  Know  Oriental  Rugs 

and  giveth  meat  to  her  household.  She 
layeth  her  hands  to  the  spindle,  and 
her  hands  hold  the  distaff.”  They 
learn  the  art  of  weaving  as  little  chil- 
dren— in  fact,  we  may  say  there  is  no 
childhood  for  the  women  of  the  rug- 
weaving districts,  for  they  begin  at  the 
age  of  six  or  seven  years  to  learn  the 
secrets  of  the  loom,  first  by  winding 
the  balls  of  bright-colored  yarns  which 
are  hung  across  the  top  of  the  loom 
within  easy  reach  of  the  weaver,  then 
by  tying  in  the  plain  colors,  learning 
little  by  little,  until  with  ease  and  dex- 
terity and  a deftness  of  hand  which  we 
know  little  about  they  become  pro- 
ficient in  the  art. 

Practically  the  same  method  of 
weaving  is  employed  as  that  of  two 
thousand  or  more  years  ago.  Vincent 
J.  Robinson,  in  his  Eastern  Carpets, 
thus  describes  the  process:  “A  very 
rough  loom  is  contrived  by  placing 

30 


The  Story  of  the  Rug 

two  horizontal  poles  or  large  beams, 
according  to  the  width  of  the  proposed 
carpet,  the  one  about  a foot  or  eight- 
een inches  above  the  level  of  the  floor, 
and  the  other  six  or  seven  feet  above 
that  and  parallel  with  it.  Upon  the 
upper  of  these  beams  are  coiled  the 
threads,  or  warps,  which  are  to  form 
the  foundation  of  the  carpet,  with  their 
lower  ends  strained  or  fixed  to  the  bot- 
tom pole.  The  loom  being  ‘ set  up,’ 
the  pile  is  gradually  worked  into  the 
warp-threads  in  the  following  manner: 
Small  bobbins  of  wool,  goats’  hair,  or 
other  material  of  which  the  pile  is  to 
be  made,  dyed  of  the  required  colors 
to  form  the  pattern,  are  passed  over 
and  under  the  warp-threads  twice  so  as 
to  bring  the  two  ends  of  the  pile  to  the 
front  of  the  carpet,  when  the  engaged 
end  is  cut,  leaving  the  two  ends  of  the 
material  projecting,  to  form  the  pile. 
This  is  repeated  in  the  same  color,  or 

3i 


Primitive 

Tools 


How  to  Know  Oriental  Rugs 

changed  to  suit  the  requirements  of  the 
design,  and  when  one  row  is  finished 
it  is  hammered  closely  down  with  a 
kind  of  comb,  and  another  row  is  be- 
gun. Before  a commencement  of  each 
row  of  the  pile  the  warps,  which  are 
divided  into  two  sets,  are  crossed,  and 
a shoot  of  hemp  or  cotton  is  introduced 
between  them;  they  are  then  crossed 
again  by  means  of  a treadle,  and  the 
weaving  of  the  pile  recommences.  Aft- 
er a completion  of  several  rows  of 
pile,  the  projecting  ends  of  it,  which 
have  only  as  yet  been  roughly  cut,  are 
carefully  trimmed  to  the  length  which 
it  is  intended  to  assume.” 

So  we  see  how  primitive  are  the 
tools — the  rude  loom,  a wooden  or 
metal  comb,  a pair  of  shears  are  all. 
The  process  of  weaving  seems  very 
simple;  but  much  skill  is  needed  in 
stretching  the  warp  so  as  to  have  the 
spaces  even;  in  tying  the  knot,  which 
32 


The  Story  of  the  Rug 

is  done  entirely  by  hand,  requiring 
great  deftness;  and  in  following  the  in- 
tricate designs,  which  are  often  carried 
in  the  mind  of  the  weaver  and  handed 
down  from  generation  to  generation- 
each  maker  of  the  same  design  giving 
his  work  the  individual  touch.  Some- 
times the  colors  to  be  used  are  called 
off  by  one  who  has  the  work  in  charge ; 
or  again,  where  Americans  and  Eu- 
ropeans direct  the  weavers,  colored 
drawings  or  samplers  are  followed.  At 
times  four  or  five  persons  work  on  a 
rug  at  the  same  time,  each  being  re- 
sponsible for  two  or  more  feet. 

There  are  two  methods  of  knotting 
the  pile:  one,  the  Senna  or  Persian 
knot,  in  which  the  two  ends  of  the  pile, 
after  being  wound  around  two  separate 
threads  of  the  warp,  come  to  the  sur- 
face between  every  space  of  the  warp; 
the  other,  Ghiordes  or  Turkish  knot, 
in  which  they  come  up  between  every 
3 33 


Two  Kinds 
of  Knots 


Finish 


Time  taken 
to  make  a 
Rug 


How  to  Know  Oriental  Rugs 

two  threads.  Besides  the  pile  carpets, 
the  khilims  and  Cashmere  rugs  are 
worked  with  a smooth  surface  by 
means  of  a shuttle  or  needle. 

The  ends  of  rugs  are  finished  in  va- 
rious ways : by  leaving  the  loose  warp 
ends  to  form  a fringe,  as  in  many  Per- 
sian rugs,  or  with  the  woven  web  and 
fringe  of  the  Turkoman  fabrics,  or  like 
many  of  the  Caucasian  rugs,  with  nar- 
row web  and  knotted  fringe.  The 
sides  are  either  selvaged,  made  by 
winding  the  woof  around  the  outer 
threads  of  the  warp,  or  they  are  over- 
cast with  separate  thread. 

The  number  of  knots  to  the  square 
inch  determines  the  texture  of  the  rug; 
fine  Kirmans  or  Sennas  have  from  four 
to  six  hundred  or  more  knots  to  the 
square  inch,  while  some  Turkish  rugs 
have  as  few  as  thirty.  If  we  exam- 
ine closely  every  tuft  of  wool,  the  end 
of  a knot,  we  are  able  to  form  some 


34 


The  Story  of  the  Rug 

idea  of  the  infinite  patience  and  care 
required  in  this  work.  A pair  of 
Senna  rugs  six  feet  four  inches  by  four 
feet  four  inches,  which  were  recently 
shown  in  New  York,  were  of  such  fine 
texture  that  the  designs  seemed  drawn 
in  pencil  lines.  These  real  Meisso- 
niers  in  warp  and  woof  are  said  to  have 
nine  hundred  and  twenty-four  knots  to 
the  square  inch,  and  to  have  taken  fif- 
teen years  to  make.  It  is  estimated  that 
a skilful  weaver  can  tie  three  knots  a 
minute,  so  that  by  working  eight  hours 
a day  he  can  complete  a Kirman  rug 
five  feet  by  eight  feet,  containing  four 
hundred  knots  to  the  square  inch,  in  a 
little  over  four  years.  A rug  of  the 
same  quality  ten  by  twelve  feet  will 
require  more  than  ten  years  to  make; 
while  a coarse  modern  Turkish  rug, 
with  forty  knots  to  the  square  inch,  will 
take  less  than  two  years. 

When  we  bear  this  in  mind,  we 

35 


Craft 

Poorly  Paid 


Materials 

Used 


How  to  Know  Oriental  Rugs 

wonder  how  Oriental  rugs  can  be  sold 
as  cheaply  as  they  many  times  are.  It 
is  only  because  this  handicraft  is  so 
poorly  paid — from  ten  to  fifteen  cents 
a day  is  an  average  day’s  wages — that  a 
rug  which  represents  four  years’  work 
can  be  bought  for  eighty  dollars. 

Various  materials  are  used  in  the 
making  of  Oriental  rugs:  wool  of 
sheep  and  goats,  silk,  camel’s  hair,  cot- 
ton, linen,  and  hemp.  The  Orient  is 
renowned  for  its  fine  wool,  the  very 
best  of  which  comes  from  Kirman, 
Cashmere,  Kurdistan,  and  Angora. 
Doubtless  the  warm  climate,  soft, 
running  water,  excellent  pasturage,  as 
well  as  the  breed  of  sheep,  have  much 
influence  on  the  quality  of  the  wool. 
Before  being  used  it  must  be  washed, 
sorted,  cleaned  again,  carded,  and 
spun  into  yarn — a strong  thread  for 
the  warp,  single  for  the  woof,  and 
double  for  the  pile.  And  here,  again, 
36 


The  Story  of  the  Rug 

the  most  primitive  methods  are  em- 
ployed. The  carding  is  done  by  draw- 
ing the  wool  over  the  sharp  ends  of 
nails  driven  into  a piece  of  wood.  The 
spinning  is  all  done  by  hand.  Mr. 

Bryce  gives  us  a picture  of  the  people 
of  Cilicia  spinning  as  they  move  from 
place  to  place:  “Each,  like  the  fates 
of  Catullus,  bore  a distaff  in  her  hand, 
with  a lump  of  wool  upon  her  wrist, 
and  this  they  plied  as  they  drove  their 
flocks  before  them.” 

The  Kurds  use  the  winter  combings  «Kurk” 
of  sheep,  called  “ kurkf  which  has 
the  softness  and  luster  of  silk,  for 
their  choicest  prayer-rugs.  From  Tibet 
the  beautiful  shawl-wool,  or  push - Pushmina 
mina,  is  obtained  from  the  down  un- 
der the  wool  of  the  goat,  and  is  used 
in  making  the  finest  grade  of  Indian 
rugs.  Camel’s  hair,  which  is  the  long, 
woolly  hair  taken  from  the  upper  part 
of  the  legs,  the  under  side  of  the  neck, 

37 


How  to  Know  Oriental  Rugs 

and  the  hump  of  the  camel,  is  used  in 
various  districts,  chiefly  in  the  making 
of  Hamadan,  Mossoul,  and  Beluchis- 
Silk  tan  rugs.  Silk  has  been  used  from  very 
early  times  in  the  making  of  rugs, 
sometimes  as  the  warp,  to  give  fineness 
of  texture,  as  well  as  in  the  pile.  Tur- 
key, Persia,  China,  and  India  produce 
Gold  silk  in  great  abundance.  Some  of  the 
Threads  choicest  specimens  of  antiques,  espe- 
cially in  the  work  of  the  sixteenth,  sev- 
enteenth, and  eighteenth  centuries, 
have  gold  or  silver  threads  either 
woven  into  or  worked  over  the  warp. 
The  so-called  “ Polish  carpets  ” of  this 
time  have  spots  of  the  warp  left  with- 
out knots,  and  the  gold  or  silver 
threads  worked  over  the  warp  in  the 
khilim  stitch.  Cotton,  linen,  and  hemp 
are  used  in  the  warp  and  woof,  as  well 
as  silk  and  wool. 

Color  We  always  associate  brilliant  sun- 
shine and  warmth  of  coloring  with  the 
38 


The  Story  of  the  Rug 

East.  The  Oriental  has  a natural  love 
of  color,  and  his  genius  shows  itself  in 
the  harmonious  blending  and  contrast- 
ing of  various  hues.  Surely  he  must 
have  a deep  sympathy  for  nature,  since 
in  no  other  way  than  out  of  his  love 
and  search  for  the  beautiful  in  the 
fields  about  him  could  have  come  such 
varied  tints,  such  strong,  true,  vital  col- 
ors, and  yet  such  artistic  refinement 
and  repose  as  one  finds  in  many  East- 
ern fabrics.  He  knows 

Of  splendor  in  the  grass,  of  glory  in  the  flower. 

But  the  secret  of  the  artistic  effects 
and  permanence  of  color  in  Oriental 
rugs  is  due  to  the  use  of  animal  and 
vegetable  dyes.  From  very  early  times 
the  Phenicians  were  renowned  for  a 
purple  or  crimson  which  they  obtained 
from  a mollusk  in  the  iEgean  Sea. 
The  process  of  making  the  Tyrian  pur- 
ple is  a lost  one,  but  from  sheep’s  blood 

39 


Secret  of 
Artistic  Col- 
oring 


Animal  Dyes 


Vegetable 

Dyes 


How  to  Know  Oriental  Rugs 

a brilliant  scarlet  is  made;  from  ker- 
mes,  the  dried  bodies  of  an  insect 
known  in  ancient  Egypt  and  still  used, 
a beautiful  red  is  obtained,  as  well  as 
from  lac,  a resinous  substance  pro- 
duced by  an  insect  mainly  upon  the 
banyan-tree,  and  in  more  recent  times 
from  cochineal. 

The  vegetable  dyes  or  extracts  from 
the  bark,  stems,  roots,  blossoms,  fruits, 
and  seeds  of  plants  are  the  wonder  and 
admiration  of  the  world.  The  Ori- 
ental blue,  which  they  copied  from 
cloudless  skies,  seas,  and  mountains, 
was  very  successful,  and  is  preserved 
in  tiles  and  pottery  as  well  as  in  woven 
fabrics.  We  find  it  in  all  shades,  from 
soft  turquoise  and  the  celestial  blue  of 
the  Chinese  to  the  deepest  tint  of  the 
Persians.  This  was  obtained  from  in- 
digo, but  it  is  only  now  and  then  that 
the  results  are  now  as  satisfactory  as 
in  earlier  days.  The  vegetable  red, 
40 


The  Story  of  the  Rug 

which  in  wool  is  a deep-toned,  blood 
red,  is  from  madder,  which  is  raised  in 
great  quantities  in  Asia  Minor.  Yel- 
low is  made  from  various  plants:  the 
Persian  berry  giving  a tawny  yellow, 
larkspur  a bright  yellow,  a fungus 
from  the  mulberry  a greenish  yellow, 
as  well  as  turmeric,  saffron,  weld,  and 
yellow  berries,  the  unripe  fruit  of  a 
shrub.  Plenna,  so  much  used  by  the 
Persians  in  dyeing  their  nails  and 
beards,  gives  a reddish  orange.  Brown 
is  made  from  valonia,  and  from  the 
green  husks  of  walnuts.  Shades  of  pur- 
ple are  produced  from  various  com- 
binations of  indigo  and  red;  green 
from  indigo  and  yellow;  and  black 
from  indigo  and  brown.  Some  colors 
are  more  durable  than  others;  red  has 
preserving  qualities,  while  black  often 
destroys  the  fibers  of  the  fabric. 

The  whole  chromatic  scale  of  col- 
ors is  much  influenced  by  the  degree 

4i 


Colors  in- 
fluenced by 
Water,  etc. 


How  to  Know  Oriental  Rugs 

of  softness  and  the  temperature  of  the 
water  as  well  as  by  other  qualities 
which  it  may  possess,  modified  by  at- 
mospheric conditions,  such  as  length  of 
time  of  exposure  to  air  and  sunshine, 
the  degree  of  sunshine,  and  the  num- 
ber of  “ dippings.”  The  art  of  dyeing, 
for  it  is  an  art,  has  many  secrets.  A 
color  is  often  produced  in  one  family 
for  generations  without  others  know- 
ing the  process  of  obtaining  it.  The 
work  of  dyeing  is  confined  almost  ex- 
clusively to  men,  who  gather  the  ma- 
terials from  the  fields  about  or  culti- 
vate some  needed  plant  in  a little 
garden-patch  in  the  summer-time,  and 
spend  the  greater  part  of  the  year  in 
preparing  the  dyes  and  coloring  the 
wool.  Often  the  color  runs  out  in  the 
making  of  a rug,  for  many  times  the 
wool  is  dyed  from  day  to  day  as  it  is 
needed,  and  it  is  impossible  to  obtain 
the  exact  shade  again,  as  the  same  con- 
42 


The  Story  of  the  Rug 

ditions  are  not  available;  but  this 
sometimes  adds  to  the  value  of  the  rug 
rather  than  detracts,  for  often  a glim- 
mering light  over  the  whole  is  due  to 
a change  in  the  shades  of  wool. 

The  introduction  of  anilin,  or  coal- 
tar,  dyes  is  destroying  dyeing  as  an  art. 
These  dyes  are  cruder,  less  artistic, 
and  are  not  permanent;  but  they  are 
cheaper,  and  can  be  obtained  with  far 
less  labor.  Where  anilin  dyes  are 
used  the  art  is  reduced  to  a commer- 
cial basis,  and  no  individual  pride  is 
taken  in  it,  while  the  position  of  a 
dyer  of  the  old  school  was  an  honored 
one  in  the  community.  Both  in  Per- 
sia and  in  Smyrna  rigid  laws  forbid- 
ding the  use  of  the  cheaper  dyes  exist; 
but  Russia  has  made  no  effort  to  main- 
tain the  old,  permanent  dyes  in  her 
new  possessions.  She  seems  to  have  no 
thought  of  preserving  the  native  arts, 
but  is  intent  only  on  pushing  her 

43 


Anilin 

Dyes 


Charm  of 
Design 


How  to  Know  Oriental  Rugs 

boundaries  and  finding  a market  for 
her  own  products.  There  are  con- 
stantly brought  to  this  country  from 
Turkey,  from  the  Caucasus,  from 
Turkestan,  from  India,  and  even  from 
some  Persian  districts,  rugs  of  the 
crudest  coloring  and  harshness.  One 
must  be  constantly  on  his  guard  in  the 
purchasing  of  Oriental  rugs  if  he 
would  have  the  genuine  old  dyes.  An 
expert  can  tell  at  a glance  a poor  dye, 
but  one  not  accustomed  to  judging  can 
test  the  dyes  by  putting  water  on  the 
rug.  Permanent  dyes  will  not  run, 
while  anilin  dyes  do.  The  old  dyes 
in  rugs  are  as  lasting  as  the  beautiful 
colors  in  old  stained-glass  windows, 
which  time  tones  down  but  does  not 
impair. 

It  is  when  we  come  to  the  study  of 
design  in  Oriental  rugs  that  we  are 
held  fascinated;  for  a carpet  unfolds 
itself  like  the  plot  of  a story.  The 
44 


The  Story  of  the  Rug 

predominating  color  first  attracts  the 
eye,  then  the  general  scheme  of  de- 
sign, and  lastly  the  pattern  in  de- 
tail with  the  figures  symbolical  of 
natural  objects,  that  fasten  the  atten- 
tion and  make  daily  life  with  a rug  a 
constant  delight,  with  its  ever  new 
phases  of  beauty.  No  two  rugs  are 
ever  exactly  alike,  for  while  in  certain 
types  of  rugs,  like  the  Bokhara  and 
Saraband,  the  general  scheme  is  the 
same,  little  variations  in  color  combi- 
nations give  different  effects.  Bach  in- 
dividual weaves  something  of  herself 
into  the  rug,  and  so,  like  any  other 
work  of  art,  it  has  the  charm  of  the  in- 
dividual touch,  the  fascination  of  a 
personal  history. 

The  origin  of  design  is  surrounded 
by  mystery,  but  it  is  generally  con- 
ceded that  the  first  designs  were  geo- 
metrical, copying,  doubtless,  the  plait- 
ing of  rush  mats,  which  preceded  car- 

45 


Origin  of 
Design 


Persian  Gar- 
den imitated 
in  Persian 
Carpet 


How  to  Know  Oriental  Rugs 

pets  in  the  evolution  of  floor  coverings. 
Later,  as  the  artistic  instincts  of  these 
early  weavers  were  developed,  they 
wove  into  their  fabrics  the  beauty  in 
form  as  well  as  color  which  they  saw 
about  them.  Walter  Crane,  in  his 
Basis  of  Design,  would  make  the 
floral  Persian  carpet  the  imitation  of 
the  Persian  garden,  for  he  says : “ The 
love  of  the  sheltered,  walled-in,  and 
natural  garden  is  very  evident  in  their 
literature,  and  the  influence  of  their 
flora  upon  their  designs  of  all  kinds  is 
evident  enough.  The  idea  of  the  East- 
ern paradise  is  a garden.  We  have  it 
in  the  Bible  in  the  Garden  of  Eden — 
an  enclosed  pleasance  or  park,  full  of 
choice  trees  and  rare  flowers,  animals 
of  the  chase,  and  birds.  This  idea  re- 
curs constantly  in  Persian  design.  The 
very  scheme  of  the  typical  carpet  seems 
derived  from  it — a rich,  varicolored 
field,  hedged  about  with  its  borders. 

46 


The  Story  of  the  Rug 

The  field  is  frequently  obviously  in- 
tended for  a field  of  flowers,  and  some- 
times suggests  a wood  or  an  orchard  of 
fruit-trees.” 

According  to  design,  Oriental  rugs 
may  be  classed  as  of  purely  Aryan,  or 
floral  type,  including  Persian  and  East 
Indian  rugs,  of  Turanian,  or  geomet- 
rical, patterns  embracing  Turkoman 
and  Caucasian  carpets,  and  of  a com- 
bination of  the  two,  as  represented  in 
Turkish,  Kurdish,  and  Chinese  weaves. 

The  Oriental  has  imitated  nature  or 
translated  her  into  textiles,  sometimes 
very  literally,  and  again  with  great 
freedom.  In  the  sumptuous  old  Per- 
sian carpets,  intended  for  regal  homes, 
full  hunting  scenes  with  a great  deal 
of  action  are  wonderfully  pictured: 
hunters  on  horseback,  with  their  dogs, 
among  the  forest-trees,  are  in  pursuit 
of  animals  of  the  chase;  and  in  others, 
more  quiet  landscapes,  with  trees,  flow- 

47 


Classes 
according  to 
Design 


Imitations  ot 
Nature 


Palm 


How  to  Know  Oriental  Rugs 

ers,  and  birds,  are  imitated.  One 
which  Mr.  Stebbing  describes  in  his 
book  on  the  Holy  Carpet  is  of  this 
nature:  “Various  trees  of  the  forest, 
planted  in  horizontal  lines,  are  con- 
nected on  each  line  by  the  serpentine 
course  of  a stream,  forming  shallow 
pools,  with  a growth  of  wild  flowers 
on  the  bank — the  mud-flats  left  by  the 
receding  water  very  carefully  indi- 
cated in  the  weaving.” 

Trees  and  vines,  the  rose,  tulip,  nar- 
cissus, pink,  flower  of  henna,  and  nu- 
merous other  flowers,  are  so  truly  cop- 
ied that  they  are  easily  distinguished; 
but  additional  forms  are  used,  which 
need  more  study  to  place.  The  palm, 
which  is  a favorite  design  in  Cashmere 
shawls,  Khorasan  and  Saraband  rugs, 
and  is  copied  in  others,  is  considered 
by  some  a conventionalized  palm-leaf, 
and  by  others  a likeness  of  the  loop  of 
the  sacred  river  of  India,  for  from  a 
48 


The  Story  of  the  Rug 

sacred  temple,  looking  toward  the 
Jhelum  River,  every  worshiper  as  he 
rises  from  prayer  at  noonday  sees  the 
river  as  a silver  thread  making  this  fig- 
ure on  the  green  plain.  The  palmette, 
a little  cup  with  fan-shaped  leaves 
about  it,  may  have  had  its  origin  in  the 
“ tree  of  life,”  or  in  the  flame  of  the 
sacred  fire  of  the  Persians.  The  ro- 
sette, said  to  resemble  the  “ star  of 
Bethlehem,”  one  of  the  early  spring 
flowers  of  Persia,  is  much  used  in  bor- 
der designs  and  in  the  formation  of 
other  patterns.  It  is  the  center  of 
the  Herati,  or  “ fish  pattern,”  which 
consists  of  the  rosette  enclosed  in 
curved  lines,  resembling  the  cloud 
bands  of  the  Chinese,  alternating  with 
a diamond  surrounding  the  same  fig- 
ure, from  four  points  of  which  are 
storks.  By  substituting  the  stalks  of 
the  yellow  flowers  of  the  flower  of 
henna  for  the  rosette  with  curved 


Palmette 


Rosette 


Herati 


4 


49 


*•  Guli 
Henna*  * 

Flower  and 
Knop 


Geometrical 

Designs 


How  to  Know  Oriental  Rugs 

lines  we  have  the  “ guli  henna  ” pat- 
tern. The  flower  and  knop  pattern,  so 
universally  used  in  all  ornament,  is 
said  to  have  had  its  origin  in  the 
Egyptian  lotus,  or  the  scarlet  tulip  of 
Babylonia.  The  wavy  lines  connect- 
ing the  designs  in  borders  suggest 
vines  or  the  meandering  of  a river. 

When  we  come  to  geometrical  de- 
signs, of  which  there  is  almost  an  end- 
less variety,  it  requires  a great  stretch 
of  the  imagination  to  see  nature  forms 
“ bodied  forth,”  and  perhaps  they  are 
more  symbolical  of  nature  than  at- 
tempts at  representation.  We  find  the 
square,  triangle,  star,  rhomboid,  hexa- 
gon, octagon,  medallion,  circle,  cross, 
straight  lines  forming  a fretwork,  the 
Greek  border,  reciprocal  saw-teeth, 
Vandykes,  the  “ barber-pole  ” stripe, 
the  swastika,  the  “ latch  hook,”  cup- 
shaped figures,  and  curious  indescrib- 
able forms. 

So 


The  Story  of  the  Rug 

There  is  thought  by  many  to  be  a Symbolism 
hidden  meaning  in  all  designs  in  Ori- 
ental rugs  if  we  only  knew  the  key  by 
which  to  read  them.  “ Carpets  were 
regarded  in  the  East,”  says  Edward 
Stebbing,  “ in  a higher  light  than 
among  ourselves,  and  symbolism  was  a 
powerful  motive,  affecting  largely  the 
design.”  There  is  a deep  significance 
in  many  symbols:  the  circle  represents 
eternity,  without  beginning  or  end;  the 
zigzag,  water  or  lightning;  the  hour- 
glass figure,  formed  by  two  triangles, 
fire  and  water;  the  star  of  six  points, 

Allah;  the  swastika,  y^,  a symbol 
found  among  many  primitive  peoples, 
and  said  to  represent  the  supreme  deity 
of  the  Aryans  and  the  motion  of  the 
earth  on  its  axis,  health,  happiness,  and 
good  luck.  The  “ latch  hook  ” and  the 
Greek  border  are  thought  to  be  modi- 
fications of  the  swastika,  and  to  carry 
the  same  meaning.  A meandering  line 

5i 


How  to  Know  Oriental  Rugs 

is  a symbol  of  continuity  of  life,  or  end- 
lessness  of  eternal  life;  the  Chinese 
cloud  band,  of  immortality.  The  tree, 
always  associated  with  religious  be- 
lief, symbolizes  Divine  power  and 
bounty;  the  palm  signifies  a blessing  or 
benediction;  the  lotus  typifies  new  life, 
or  immortality.  The  whole  rug  is  said 
to  be  the  emblem  of  eternity,  and  the 
pattern  the  changing  world  of  nature. 
Verses  from  the  Koran  give  a peculiar 
religious  significance,  and  are  often 
woven  into  rugs  intended  for  mosques. 
Lines  from  the  Persian  poets  express- 
ing" good-will  are  sometimes  found, 
and  sometimes  a date  or  signature. 
The  following  inscription  is  woven  in 
Arabic  characters  in  the  Holy  Carpet 
of  the  mosque  of  Ardebil : “ I have  no 
refuge  in  the  world  other  than  thy 
threshold.  My  head  has  no  protection 
other  than  this  porchway.  The  work 
of  the  slave  of  this  holy  place,  Mak- 
52 


The  Story  of  the  Rug 

sond  of  Kashan,  in  the  year  946  ” 
(A.  D.  1553).  A bead  or  little  tuft  of 
wool  or  a tassel  are  thought  to  keep 
away  the  “ evil  eye,”  as  are  also  some 
irregularities  of  design  or  the  little  S- 
shaped  figures. 

The  Mohammedan  religion  forbids 
the  use  of  animal  forms,  so  that  floral 
and  geometrical  designs  are  more  often 
found  in  rugs.  But  as  the  Persians  are 
not  of  the  orthodox  Moslem  faith,  but 
of  the  Shaiah  sect,  they  exercise  greater 
freedom  in  this  respect,  often  repre- 
senting animals  of  the  chase  and  birds. 
In  some  nomad  rugs,  too,  we  find  little 
conventionalized  figures  of  animals 
scattered  through  the  field,  especially 
in  Kasak,  Shirvan,  Daghestan,  and 
Kurdistan  rugs.  The  dragon,  bat,  tor- 
toise, butterfly,  and  deer  figure  in 
Chinese  rugs. 

The  luster  of  Oriental  rugs  is  se- 
cured in  various  ways.  In  an  antique 

53 


Animal 

Figures 


Luster 


How  to  Know  Oriental  Rugs 

the  polish  is  due  to  the  tread  of  soft 
sandals  and  bare  feet,  for  the  Orien- 
tal never  walks  with  heavy  shoes  upon 
so  rare  a fabric.  It  is  sometimes  due 
to  the  quality  of  the  wool,  for  certain 
grades  take  on  a sheen  more  readily 
than  others.  Many  methods  are  re- 
sorted to  to-day  to  give  rugs  this  qual- 
ity, which  is  meant  to  be  indicative  of 
age  and  add  to  their  beauty.  They  are 
Treated  “ treated  ” with  chemicals  and  man- 
Rugs  gled,  buried  in  the  sand,  and  harshly 
used  until  the  luster  appears.  This 
treatment  many  times  injures  the  wear- 
ing qualities  of  the  rug. 

An  Antique  The  question  is  often  asked,  “ What 
is  an  antique?  ” An  antique,  it  is  gen- 
erally conceded,  must  have  age,  at  least 
fifty  years,  animal  or  vegetable  dyes, 
and  a lustrous  pile. 

Value  The  value  of  a rug  is  dependent  on 
its  permanent  dyes,  its  age,  its  texture, 
or  the  number  of  knots  to  a square 
54 


The  Story  of  the  Rug 

inch,  the  beauty  of  design  and  color, 
or  the  unusualness  of  pattern  and  col- 
oring, the  material  of  which  it  is  made, 
and  its  size. 

There  are  a number  of  reasons  for  Deterioration 
the  deterioration  of  certain  modern  of  Modem 

Rugs 

fabrics:  first,  the  demand  has  been  so 
much  greater  than  the  supply  that 
means  have  been  taken  to  increase  the 
number  produced,  so  that  there  has 
been  more  haste  in  the  making  of 
them;  second,  anilin  dyes  have  been 
introduced  into  the  East  by  Europeans, 
and  as  they  are  much  cheaper  and 
more  easily  used  they  are  taking  the 
place  of  permanent  dyes;  and  third, 
designs  of  foreign  origin  and  spirit 
have  replaced  the  old  patterns. 

The  ability  to  classify  rugs  as  to  Know  Rugs 
country  and  district  comes  to  one  with  by  Study 
the  study  of  them.  The  design  for- 
merly indicated  the  district,  but  it  is 
not  so  to-day;  a more  intimate  knowl- 

55 


How  to  Know  Oriental  Bugs 

edge  is  necessary.  How  to  know  Ori- 
ental rugs,  to  fully  appreciate  all  their 
art  qualities,  and  to  be  able  to  judge  of 
their  value,  can  only  be  learned  after 
living  with  them,  studying  them  with 
sympathy,  as  you  would  a poem  or  a 
picture,  and  handling  them  until  this 
choice  form  of  Eastern  art  becomes  a 
delight  and  an  inspiration. 


II 


PERSIAN  RUGS 


I.  Khorasan. 

%.  Meshed. 

3.  Herat. 

4.  Shiraz. 

5.  Kirman 

and 

Kermanshah. 

6.  Tabriz. 

7.  Senna. 


8.  Saraband. 

9.  Feraghan. 

10.  Saruk. 

1 1 . Herez — Gorevan. 

Serapi. 

Bakshaish. 

12.  Hamadan. 

13.  Sultanabad. 

14.  Ispahan,  and  others. 


II 


PERSIAN  RUGS 

PERSIA,  the  first  permanent  home  of  Country 
carpet  weaving,  while  robbed  of  much 
of  her  political  power,  and  only  a 
shadow  of  her  former  self,  still  holds 
up  to  the  world  ideals  in  the  textile  art 
well  worth  a careful  study.  Her 
country,  to-day  of  twice  the  area  of 
France,  extending  seven  hundred  miles 
west  and  east  from  Turkey  to  Afghan- 
istan and  Beluchistan,  and  nine  hun- 
dred miles  north  and  south  from  Rus- 
sian Turkestan  to  the  Persian  Gulf,  has 
a wonderful  variety  of  surface,  cli- 
mate, products,  and  people.  The  low- 
lands about  the  Caspian  Sea,  with  an 
almost  tropical  vegetation  and  a humid 
atmosphere,  are  in  great  contrast  to 

59 


Cities 


Shah’s 

Carpets 


How  to  Know  Oriental  Rugs 

the  parched  plains  and  dry  air  of  the 
districts  farther  south;  at  Shiraz  na- 
ture is  prodigal  of  beauty,  and  in  cen- 
tral Khorasan  it  is  sparing.  Her  hill- 
sides and  valleys  furnish  pasturage  for 
large  flocks  of  sheep  and  goats,  and  her 
fertile  plains  produce  silk  and  cotton 
in  abundance,  so  that  all  the  materials 
for  rug-making  are  of  home  growth. 

Persia  has  few  cities:  Teheran,  the 
capital,  Tabriz  and  Hamadan  in  the 
north,  Meshed  in  the  east,  Ispahan  in 
the  center,  and  Yezd  and  Kirman  in 
the  south,  all  connected  as  of  old  by 
lines  of  caravan  travel,  and  the  homes 
of  the  educated  and  commercial  peo- 
ple, who  still  are  lovers  of  ease  and 
luxury.  The  present  Shah’s  palace  at 
Teheran  has  many  exquisite  old  car- 
pets in  the  public  apartments,  among 
them  the  throne  carpet,  brought  with 
the  famous  Peacock  throne  from  Delhi 
by  Nadir  Shah,  and  those  of  his  pri- 
60 


Persian  Engs 

vate  rooms  are  said  to  be  “ magnificent 
soft  carpets,  of  lovely  design.  One  a 
deliciously  soft  Kirman,  of  fascinating 
artistic  green,  one  in  red  from  Sul- 
tanabad,  and  others  from  Ispahan,  but 
most  valuable  of  all  a white  rug  from 
Sultanabad,  on  which  he  stands  when 
receiving  in  audience.” 

The  people  of  Persia  are  of  many 
nations,  the  old  Iranian  stock  being 
purest  in  the  south;  but  we  find  Turks, 
Armenians,  Arabs,  Turkomans,  and 
Europeans.  Of  her  nine  millions  of 
people,  most  of  them  are  a simple, 
primitive,  pastoral  people,  living  in 
rude  huts  in  villages  or  in  the  black 
tents  of  the  nomad  tribes.  Of  the  lat- 
ter there  are  said  to  be  one  million, 
who  pasture  their  flocks  in  the  south- 
ern plains  in  the  winter  and  go  to  the 
mountain  districts  in  the  summer-time. 

That  so  rude  and  uncultivated  a peo- 
ple possess  skill  and  taste  in  design  and 

61 


People 


Artistic 

Fabrics 


Greatest 
Art  Era 


How  to  Know  Oriental  Hugs 

color  as  shown  in  their  fabrics  is  a 
marvel.  Like  David  of  old,  their  out- 
of-door  life  and  intimacy  with  nature 
gives  them  a love  of  the  beautiful  and 
an  artistic  sense  seldom  seen.  Here  we 
find  the  artizan,  the  artist,  for  woven 
into  their  hand-work  is  a love  of  the 
beautiful,  a warmth  of  nature,  a sug- 
gestion of  comfort  and  luxury,  an  ap- 
preciation of  grace  in  form,  and  an 
honesty  of  purpose  which  are  so 
plainly  told  that  he  who  runs  may 
read.  This  poetic  and  artistic  feeling 
of  Persia  has  from  very  early  times 
found  expression  in  the  fine  fabrics  for 
which  she  has  so  long  been  famous. 
The  highest  art  was  reached  in  the  six- 
teenth century,  under  the  fostering 
care  of  Shah  Abbas,  who  lived  at  Is- 
pahan, but  whose  influence  extended 
to  Shiraz,  Kirman,  Meshed,  Yezd, 
and,  indeed,  throughout  Persia.  We 
see  a most  wonderful  effect  produced 
62 


Persian  Rugs 

in  the  work  of  this  period  by  a blend- 
ing of  the  Renaissance  art  of  Italy 
with  that  of  the  descendants  of  the 
early  Aryan,  and  with  just  a touch  of 
Chinese  influence,  for  artists  from 
Italy  and  China  were  the  teachers  of 
this  period.  The  floral  designs — the 
rose  of  Iran,  the  “ tree  of  life,”  the 
trailing  vines — were  all  Persian,  but 
the  cloud  bands  were  Chinese;  and  the 
delicate  traceries  and  arrangement 
show  the  same  art  as  Raphael’s  Stanza 
at  Rome — the  soft  charm  of  the  Per- 
sian was  there,  with  an  added  beauty 
of  design.  And  so  for  two  thousand 
years  or  more  Persia  has  borrowed 
ideas  and  stamped  them  with  an  indi- 
viduality of  her  own. 

True  to  her  traditions  of  the  past, 
great  effort  has  been  made  by  the  Gov- 
ernment to  maintain  the  old  standards 
in  beautiful  and  artistic  designs,  per- 
manent vegetable  dyes,  velvety  texture, 

63 


Old 

Standards 

Maintained 


Designs 


Color 


How  to  Know  Oriental  Rugs 

and  blending  of  colors.  There  was  an 
apprehension  at  one  time  that  the  in- 
troduction of  anilin  dyes  would  ruin 
this  industry,  but  the  Government 
guards  against  it  by  law.  A heavy 
penalty  is  attached  to  the  importation 
or  use  of  anilin  dyes.  So  that  the 
Persian  rug  of  to-day  shows  a closer 
adherence  to  the  old  types  than  do  the 
rugs  of  districts  farther  west,  which  is 
due  largely  to  the  inaccessibility  of 
Persia  and  to  the  action  of  the  Shah. 

In  design,  whether  made  in  the 
royal  palace,  in  a village  hut,  or  in  a 
tent  of  a nomad,  a Persian  rug  can 
usually  be  distinguished  by  its  realis- 
tic floral  patterns  with  borders  of 
wavy  lines  connecting  floral  figures  in 
harmony  with  the  field. 

In  color,  harmony  rather  than  con- 
trasts predominates,  giving  marvelous 
combinations  and  blending  of  tones. 
Dark  blues  and  reds  are  favorite  back- 
64 


Persian  Rugs 

grounds  for  the  display  of  floral  pat- 
terns. 

There  is  a great  variety  in  texture 
from  the  close  weave  of  the  Senna, 
Kirman,  and  Tabriz  rugs  to  the  soft 
Shiraz  and  the  coarse  Hamadan  rugs; 
but  as  a family,  Persian  rugs  are  of  fine 
wool,  with  occasionally  camel’s  hair  or 
silk  for  the  pile,  with  the  warp  and 
woof  of  cotton,  tied  with  the  Senna 
knot. 

KHORASAN 

Khorasan,  “ the  Land  of  the  Sun,” 
is  the  northeastern  province  of  Persia. 
Separated  as  it  is  from  Russia  by 
mountains  and  from  Kirman  by  a salt 
desert,  little  or  no  European  influence 
has  reached  this  part  of  Persia.  Within 
its  borders  we  find  alpine  scenery, 
luxuriously  fertile  fields,  desert  tracts, 
and  as  great  a variety  of  climate  and 
people.  The  descendants  of  the  an- 
5 65 


Texture 


Country  and 
its  People 


How  to  Know  Oriental  Rugs 

cient  Irans  constitute  only  a small  part 
of  the  inhabitants,  for  we  find  Arabs, 
Turkomans,  Turks,  Armenians,  Jews, 
and  a large  nomad  people.  The  women 
are  still  the  weavers  of  rugs,  both  in 
the  villages  and  among  the  nomad 
tribes. 

The  Khorasan  rugs  are  among  the 
finest  of  the  antiques,  and  reflect  some- 
thing of  the  old  Persian  culture.  They 
have  a wonderful  sheen,  due  to  the  fine 
wool  of  which  they  are  made;  and  an 
unusual  artistic  effect  is  produced  by 
the  uneven  trimming  of  the  pile,  which 
makes  the  figures  of  the  design  stand 
out  from  the  background.  They  have 
the  warmth  and  softness  for  which  the 
ancient  Iranian  fabrics  were  famous. 

On  a background  of  rich  blue  or 
red,  floral  designs  in  elaborate  patterns 
are  worked  out,  some  showy  and  others 
with  small,  intricate  patterns.  Often 
the  medallion  effect  is  made  use  of, 
66 


PPT^w-'  w>, 


KHORASAN 

Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn. 


Persian  Bugs 

with  the  field  and  corners  well  covered 
with  flowers  and  traceries;  or  with  a 
bold  central  figure  on  a rich,  plain 
field.  A favorite  design  in  the  old 
fabrics  is  a large  palm  in  each  corner, 
extending  to  a rosette  in  the  center; 
and  frequently  the  small  palm  and  ro- 
sette cover  the  entire  field.  Figures 
of  animals  and  birds  occur  with  the 
same  grace  and  beauty  as  in  the  old 
Kirman  rugs.  One  of  the  chief  char- 
acteristics, and  a distinguishing  one,  in 
both  old  and  new,  is  the  many  borders, 
sometimes  ten  or  twelve,  usually  one 
being  wide  with  many  narrow  ones  on 
either  side.  These  all  have  the  wavy 
lines,  connecting  rosettes,  the  palm,  or 
other  floral  patterns.  The  many  bor- 
ders add  great  dignity  to  this  rug,  and 
form  a beautiful  setting  for  the  central 
field,  giving  to  the  whole  a distin- 
guished air. 

Soft,  rich  colors  predominate,  this 

67 


Colors 


Material  and 
Finish 


How  to  Know  Oriental  Rugs 

being  due  to  the  fine,  soft  quality  of 
the  wool  of  this  district.  The  back- 
ground is  often  of  the  old  Persian  blue, 
or  a rich  wine-color,  and  occasionally 
one  with  a peculiar  purplish-pink  cast 
is  seen.  The  new  fabrics  nearly  equal 
the  old,  and  only  time  is  needed  to  give 
them  the  mellowness  so  characteristic 
of  the  antiques. 

The  material  is  of  the  best:  the  warp 
of  cotton,  the  woof  of  cotton  or  wool, 
and  the  pile  of  lustrous  wool.  The 
sides  are  overcast,  and  the  ends  have, 
usually,  a fringe  of  loose  warp. 

The  Khorasan  is  a most  satisfactory 
rug,  beautiful  in  color,  durable,  and 
pliable,  giving  an  air  of  elegance  to  a 
room.  It  is  especially  suited  to  living- 
rooms,  libraries,  and  halls,  and  comes 
in  all  sizes.  Most  antiques  are  oblong. 


68 


Persian  Rugs 


MESHED 

Meshed,  the  capital  of  Khorasan,  The  Mecca 
in  the  northeastern  part  of  the  prov-  ofPersla 
ince,  is  famous  not  only  for  its  rugs,  but 
as  the  holy  city,  the  Mecca  of  the  Mo- 
hammedans of  Persia.  Here  is  the 
shrine  of  their  prophet,  Imam  Riza, 
to  which  thousands  turn  their  steps 
yearly;  here  was  the  home  of  Haroun- 
al-Rashid,  and  near  by  that  of  Omar 
Khayyam;  so  that  gathered  about  its 
history  are  the  most  sacred  of  religious 
rites,  the  charm  of  Haroun’s  life,  and 
the  songs  of  the  tent-maker  poet. 

It  is  hard  to  realize  or  estimate  the  Influence  on 
influence  of  such  a religious  center  on  Rug  ®esl%ns 
the  industry  of  rug-weaving,  especially 
in  the  scattering  of  knowledge  of  de- 
sign; for  often  there  are  from  five  to 
six  thousand  strangers  in  the  city,  each 
bent  upon  worshiping  at  the  shrine  so 

69 


Character- 

istics 


How  to  Know  Oriental  Rugs 

renowned  for  the  splendor  of  its  deco- 
rations, for  its  iridescent  tiles,  and  its 
rich  carpets.  Many  a pilgrim  brings 
his  gift  of  a carpet,  upon  which  he  has 
spent  the  greatest  care  in  designing  and 
weaving,  to  leave  as  a pledge  of  his  de- 
votion, and  not  unlikely  purchases  an- 
other as  a memento  of  his  pilgrimage. 

The  Meshed  rugs  are  easily  recog- 
nized as  of  the  Khorasan  variety,  as 
they  follow  much  the  same  designs, 
materials,  and  finish,  but  are  of  finer 
texture  and  of  lighter  shades — pink, 
blue,  and  ivory  being  favorite  colors. 
Sometimes  a rug  in  two  tones  of  ivory 
is  seen.  The  old  Meshed  rugs  were  of 
wonderfully  fine  texture  and  color,  due 
largely  to  the  quality  of  the  wool;  to- 
day they  are  brighter  than  the  Khora- 
san, and  of  more  even  nap.  They  are 
heavy,  durable  rugs,  with  long  pile, 
close  weave,  and  imperishable  dyes. 
They  come  in  all  sizes,  from  four  by 
70 


Persian  Rugs 

six  feet  up  to  ten  by  twenty-five  feet  or 
larger. 

HERAT 

Just  across  the  border  of  Khorasan, 
in  Afghanistan,  is  the  old  Persian  city 
of  Herat.  Situated  as  it  is  in  the  di- 
rect line  of  travel  between  Bokhara 
and  Cashmere,  as  well  as  between 
Meshed  and  the  East,  we  find  it  the 
market  for  fabrics  made  in  Khorasan 
as  well  as  in  and  about  the  city  itself. 
Its  four  bazaars,  under  one  great  dome, 
are  the  most  famous  in  this  part  of 
the  East.  The  sheep  of  this  district  are 
noted  for  the  fine  quality  of  wool,  and 
the  silk  is  of  home  growth.  In  Shah 
Abbas’s  time  the  city  became  the  center 
of  learning  and  culture.  The  rugs  of 
that  and  later  times  were  of  the  old 
Herati  pattern,  in  great  refinement  of 
color;  but  since  it  has  become  a part 
of  Afghanistan  we  see  a “ certain  wild 

7i 


Country 


Design 


Colors 


Materials 
and  Texture 


How  to  Know  Oriental  Rugs 

grandeur,”  corresponding  to  the  Af- 
ghan character,  woven  into  their  work. 

Even  to-day  the  Herati  pattern,  the 
rosette  enclosed  in  elongated  serrated 
leaves  or  cloud  bands  and  the  dia- 
mond surrounding  a rosette  with  its 
eight  storks,  making  an  all-over  pat- 
tern, is  universally  used.  Whenever 
the  palm  pattern  is  made  use  of  the 
figures  are  always  faced  in  one  direc- 
tion, differing  from  the  Saraband  rugs 
in  this  respect;  and  the  influence  of 
India  is  sometimes  seen  in  the  elonga- 
tion of  the  palm. 

The  field  is  usually  dark  blue  or  old 
red,  with  sometimes  a purplish  tone, 
like  the  effect  of  haze  on  distant  hills; 
the  center  border  is  green,  with  ivory, 
yellow,  red,  and  blue  in  the  figures,  all 
so  well  blended  as  to  give  an  effect  of 
repose. 

The  Herati  rugs  are  closely  woven, 
of  fine  wool  and  good  dyes.  When 
72 


Persian  Rugs 

silk  is  used,  it  is  in  the  warp,  where  it 
does  not  show,  but  gives  an  unusual 
fineness  to  the  work.  The  modern  rugs 
are  somewhat  heavier  than  the  Kho- 
rasan,  of  silky,  soft  texture,  and  tied 
with  the  Ghiordes  knot.  They  are  a 
durable  rug,  of  great  brilliancy. 

Their  finish  is  like  the  Khorasan  Finish  and 
rug.  In  size  they  are  from  five  to 
eight  feet  by  ten  to  twenty  feet,  and 
also  in  runners  from  six,  seven,  to  eight 
feet  by  twenty  feet.  Beautiful  saddle- 
bags are  also  made. 

SHIRAZ 

In  one  of  the  most  beautiful  spots  Country  and 
of  Persia,  if  we  may  believe  those  who  lts  People 
have  written  about  it,  near  the  ruins 
of  the  ancient  city  of  Persepolis,  is 
Shiraz,  now  the  capital  of  Farsistan, 
famous  in  history  for  its  poets,  its  gar- 
dens, its  nightingales,  and  its  splendor. 

73 


II oio  to  Know  Oriental  Rugs 

There  is  a certain  fascination  about  the 
place,  its  history,  and  its  people;  and 
it  is  pleasant  to  linger  over  the  story 
of  this  valley,  surrounded  by  moun- 
tains, and  call  to  mind  that  Cyrus  the 
Great  is  buried  near,  that  Alexander 
spent  many  days  among  its  people,  that 
here  the  Magi  started  on  their  wonder- 
ful journey  to  see  the  King,  that  Shah 
Abbas  loved  it,  and  that  the  poets  Sadi 
and  Hafiz  have  given  it  a high  place 
in  the  realm  of  song.  Its  people,  who 
are  gay  and  light-hearted,  and  who 
live  an  out-of-door  life,  pride  them- 
selves on  their  purity  of  Aryan  blood. 
There  are  many  nomad  Fars  who  pass 
north  and  south  at  various  seasons, 
taking  their  flocks  to  the  highlands  in 
summer  and  returning  to  the  plains  in 
the  winter. 

As  the  antique  fabrics  were  often 
made  for  the  rulers  of  Persia,  and  as 
the  sheep  of  this  district  produce  a fine 
74 


ANTIQUE  SHIRAZ 


Loaned  by  Joseph  Wild  & Co.,  New  York  City 


Persian  Rugs 

grade  of  wool,  there  are  some  very  in- 
teresting old  carpets,  of  very  soft  tex- 
ture and  silky  luster;  many  of  the  so- 
called  “ Mecca  ” carpets  are  of  Shiraz 
make. 

It  is  hard  to  distinguish  Shiraz  rugs  Distinguish- 
by  the  designs,  as  they  are  so  varied;  ins  Marks 
we  find  the  floral  designs  of  many  Per- 
sian districts  copied,  as  well  as  the 
stripes  and  geometrical  pattern  of  the 
Caucasus.  A favorite  design  is  a 
number  of  medallions  through  the  cen- 
ter, with  flowers  and  birds  scattered 
through  the  field;  another  is  the  diag- 
onal shawl  stripes,  with  little  figures 
in  them;  another  the  palm  pattern  en- 
larged. The  prayer-rug  has  a square 
mihrab  instead  of  the  usual  point. 

But  they  have  two  distinguishing 
marks:  the  sides  are  overcast  in  two 
or  more  colors,  with  little  tassels  of  col- 
ored wool  along  the  sides  or  at  the 
corners;  and  the  ends  are  usually  fin- 

75 


Material, 
Texture,  and 
Size 


Country 
and  People 


How  to  Know  Oriental  Rugs 

ished  with  a colored  selvage,  worked 
with  a needle,  and  with  a long  fringe. 
These  two  features  make  it  easy  to 
identify  a Shiraz  rug.  The  borders  are 
usually  wide,  with  large  figures. 

The  warp  and  woof  are  always  of 
wool,  of  medium  fineness,  and  the  pile 
is  of  soft  wool ; and  as  they  are  loosely 
woven  they  are,  perhaps,  the  softest 
rug  made.  For  this  reason  they  do  not 
always  lie  well  upon  the  floor,  but 
make  beautiful  couch  covers.  They 
come  in  medium  sizes,  from  four  by 
six  to  five  by  eight  feet,  with  a few 
large  sizes.  The  saddle-bags  are  the 
finest  known. 

KIRMAN  AND  KERMANSHAH 

The  term  Kirman  we  apply  to  the 
antique  fabrics  of  the  district  of  Kir- 
man, which  lies  between  the  Desert  of 
Lut  and  the  Arabian  Sea— the  most 
southeastern  of  Persian  provinces.  As 
7 6 


Persian  Rugs 

Kirman  lies  out  of  the  line  of  travel, 
its  products  are  hardly  contaminated 
by  European  influence.  Its  inhabit- 
ants are  a scattered  people,  of  Ira- 
nian blood,  who,  now  living  in  vil- 
lages, and  again  wandering  tribes, 
raise  sheep  with  extremely  soft  and 
silky  wool,  and  goats  with  hair  equal 
to  that  of  the  Cashmere  goat;  and  the 
water  of  the  country  possesses  chemical 
properties,  making  it  possible  to  obtain 
perfect  colors. 

For  softness  and  delicacy  of  texture, 
splendor,  harmony,  and  mellowness  of 
color,  for  purity  of  drawing  and  ac- 
curacy of  detail,  these  rugs  may  be 
called  the  gems  of  the  loom.  For  gen- 
erations the  art  has  been  handed  down 
of  putting  the  tree  of  life,  the  rose  of 
Iran,  fruits,  flowers,  birds,  and  ani- 
mals, with  floral  creepers  and  shoots, 
winding  in  endless  familiarity,  upon 
a delicate  gray  or  ivory  field,  sur- 

77 


Gems  or 
Loom 


Colors  and 
Texture 


Modern 

Kermanshah 


How  to  Know  Oriental  Rugs 

rounded  by  borders  with  wavy  lines 
and  floral  patterns,  producing  an  effect 
of  floral  richness  unsurpassed.  Some- 
times there  are  vases  filled  with  red 
roses,  arranged  in  rows,  across  the  del- 
icate field,  and  bordered  by  a frame  of 
deeper  tint  of  ivory,  on  which  are  scat- 
tered various  flowers,  with  now  and 
then  a rose  like  the  center. 

The  colors,  always  rich  and  refined, 
are  dark  ivory,  fawn  tones,  rose  shades, 
greens,  grays,  and  blues.  The  close 
weave,  soft  texture,  and  clear  colors 
proclaim  these  rugs  the  work  of  artists. 
Many  are  almost  as  lustrous  as  silk, 
and  more  to  be  desired. 

There  are  a few  antiques  in  this 
country;  but  the  modern  Kirman  or 
Kermanshah  rug,  made  throughout 
the  district,  rivals  the  old.  The  name 
Kermanshah  used  to  be  given  to  rugs 
made  in  the  village  of  Kermanshah,  in 
the  mountains  southwest  of  Ardelan, 


KERMANSHAH 


Loaned  by  Mr.  John  H.  Langton,  New  York  City 


Persian  Rugs 

bordering  on  Turkey,  where,  at  one 
time,  rugs  resembling  the  Kurdish 
weaves  were  made;  but  to-day,  accord- 
ing to  Mr.  Wigham,  in  The  Persian 
Problem,  “ there  are  no  rugs  of  any 
value  made  in  Kermanshah.”  At  Kir- 
man  the  Government  takes  great  inter- 
est in  the  rug  industry,  and  there  is  a 
factory  in  the  governor’s  palace  where 
the  old  designs  are  faithfully  repro- 
duced. Men  and  boys  do  much  of  the 
weaving,  often  in  dark,  underground 
places,  on  account  of  the  dryness  of  the 
air. 

The  medallion  center,  with  field  sur- 
rounding it  of  soft  ivory,  covered  with 
vines  and  floral  designs  in  delicate 
pinks,  blues,  and  greens,  is  a common 
design,  as  well  as  the  combinations  of 
the  elongated  palm  with  floral  patterns 
and  birds.  Like  the  Khorasan  rugs, 
they  often  have  several  borders,  won- 
derfully shaded. 


Design 


79 


How  to  Know  Oriental  Rugs 

Texture  and  They  are  a beautifully  made  rug, 
Material  0ften  haVmg  as  many  as  four  hundred 

knots  to  the  square  inch,  but  are  not  as 
closely  woven  as  the  Tabriz.  The  pile 
is  of  fine  wool,  which  takes  a luster, 
and  the  warp  and  woof  are  of  cotton. 

Finish  and  The  sides  are  overcast,  and  the  ends 
have  a narrow  web  and  fringe.  They 
are  made  in  all  sizes,  from  mats  to 
large  carpet  sizes. 

They  are  a popular  rug  for  drawing- 
rooms and  reception-rooms,  where  del- 
icate tints  are  required. 

TABRIZ 

City  Tabriz,  the  capital  of  Azerbijan,  the 
northwest  province  of  Persia,  and  the 
home  of  the  heir  to  the  throne  of  Per- 
sia, is  the  center  of  a fertile  country, 
with  fine  pasture-lands  for  flocks  of 
sheep  and  goats.  The  city,  as  it  is  the 
nearest  point  in  the  district  to  the  Cau- 
80 


Persian  Rugs 

casus  railroad,  is  a great  rug  market 
for  the  surrounding  villages,  and 
yearly  manufactures  hundreds  of  rugs 
within  its  borders. 

Tabriz  rugs,  while  of  fine  texture,  Character- 
and  with  some  resemblance  to  the  Ker-  !^dcs 

1 abriz  Rugs 

manshah  rugs,  show  their  newness  by 
lack  of  perfect  shading,  depth  of  color, 
and  brilliancy  of  sheen.  Their  designs 
prove  a strong  European  influence, 
and  are  lacking  in  the  true,  Oriental 
spirit.  On  their  face  they  tell  plainly 
that  they  are  rugs  made  by  people  who 
are  not  putting  themselves  into  the 
work,  but  producing  for  the  market. 

Although  the  coloring  is  good,  usu-  Colors 
ally  of  vegetable  dyes,  it  is  often  bril- 
liant, and  combined  so  as  to  produce 
contrasts  rather  than  the  rich  harmony 
of  the  antique  carpets  of  Persia.  They 
lack  the  charm  of  the  genuinely  Orien- 
tal work,  such  as  the  Kirman  and  Kho- 
rasan  rugs. 

6 


81 


How  to  Know  Oriental  Rugs 

Designs  The  designs  vary:  many  old  Persian 
patterns  are  combined  with  new  forms, 
of  which  the  medallion  center,  sur- 
rounded with  a field  of  solid  color  cov- 
ered with  intricate  floral  designs,  is  a 
favorite.  The  regularity  and  exactness 
of  pattern  give  them  the  appearance  of 
machine-made  rugs.  Sometimes  in- 
scriptions from  the  Koran  or  Persian 
poets,  enclosed  in  oblong  figures,  are 
woven  into  the  borders. 

Texture  and  In  texture,  these  rugs  are  firm.  and. 

Material  7 

from  the  close  weave,  inflexible.  The 
warp  and  woof  are  of  cotton ; and  the 
pile,  of  short,  harsh  wool,  very  closely 
clipped,  seldom  takes  a luster. 

Size  They  are  made  in  all  sizes  and  col- 
ors, from  mats  to  the  large  carpet  sizes. 
One  can  have  any  pattern,  size,  or  col- 
oring made  to  order,  showing  how 
much  European  and  American  influ- 
ences control  them.  Very  many  Ta- 
briz rugs  in  our  market  have  been 
82 


ANTIQUE  ROYAL  SENNA 

Loaned  by  Kent-Costikyan,  New  York  City 


Persian  Rugs 

made  from  designs  and  color  schemes 
furnished  by  importers;  and,  as  it  is 
impossible  for  the  Western  mind  to  see 
things  with  the  eye  of  the  Oriental, 
these  fabrics  lack  the  true  Iranian 
spirit. 


SENNA  OR  SEHNA 

In  the  northwestern  part  of  Ardelan,  Country  and 
separated  from  Kermanshah  by  the  Za-  PeoPle 
gros  Mountains,  is  Senna,  in  the  very 
center  of  one  of  the  great  rug-pro- 
ducing districts  of  Persia.  Situated  as 
this  tribe  or  clan  is,  near  to  the  Cau- 
casus and  surrounded  by  Kurds  and  by 
people  who  have  yielded  to  European 
influence,  they  have  had  strength  of 
character  to  maintain  their  own  ideas 
of  rug-making,  and  have  given  their 
name  to  a fabric  which  stands  among 
the  best,  both  in  ancient  and  modern 
times,  for  good  dyes,  fine  texture,  and 
harmonious  colors. 


83 


Design 


Colors 


How  to  Know  Oriental  Bugs 

Conservative  as  these  people  are, 
they  adhere  to  a few  designs,  either  the 
palm  or  the  “ fish  pattern,”  in  such 
minute  all-over  patterns  as  to  give  the 
effect  of  a mosaic;  or  with  the  center 
divided  into  medallions,  sometimes  ar- 
ranged one  within  another.  They  usu- 
ally have  but  three  borders,  the  center 
one  wider  than  the  other  two,  with 
roses,  rosettes,  and  wavy  lines  on  a red 
or  yellow  field.  A most  exquisite  an- 
tique recently  brought  to  this  country 
had  one  medallion,  with  a cartouch  at 
each  end,  which,  together  with  the  cor- 
ners, was  filled  with  a small  Herati 
pattern,  on  a shaded  wine-colored 
field.  The  borders  were  seven  in  num- 
ber. 

The  colors  are  usually  subdued  reds, 
blues,  and  yellows,  with  some  lighter 
shades — ivory,  pink,  and  green — beau- 
tifully blended. 

These  rugs  are  of  fine  texture  and 
84 


Persian  Rugs 

material,  with  warp  and  woof  of  cot- 
ton, linen,  or  silk,  and  the  pile  of  a 
silky  wool,  very  closely  clipped,  giving 
the  appearance  of  tapestry.  Occasion- 
ally a rug  is  seen  of  such  fine  pencil 
lines  that  it  is  hard  to  realize  that  the 
knots  were  put  in  by  hand  alone.  The 
dexterity  of  the  women  of  the  Orient  is 
exemplified  by  this  weave  of  rugs. 

The  ends  have  narrow  web,  with 
fringe  at  one  end,  and  the  sides  are 
overcast  in  red  cotton  or  silk.  They 
are  made  in  small  sizes,  about  five  by 
eight  feet.  The  Royal  Senna  is  of  the 
finest  material,  and  nearly  square,  for 
use  as  a saddle  cover. 

A khilim  is  a rug  made  without 
pile,  woven  with  the  woof  wound 
around  the  pile  threads  by  means  of  a 
shuttle,  making  a fabric  alike  on  both 
sides.  Many  times  little  open-work 
spaces  appear,  due  to  the  fact  that  the 
parts  of  one  color  are  put  in  at  the 

*5 


Texture  and 
Material 


Finish  and 
Size 


Senna 

Khilim 


Moderns  the 
Antique 


Design 


How  to  Know  Oriental  Rugs 

same  time,  and  with  change  in  color  a 
new  warp-thread  is  taken  up,  leaving 
an  open  space.  The  Senna  khilim  has 
designs  like  the  rugs  of  the  district, 
with  very  small  open-work  spaces,  on 
account  of  the  fine  threads  and  small 
pattern.  It  is  the  best  and  most  artistic 
khilim  of  small  size  suitable  for  hang- 
ings and  coverings. 

SARABAND 

The  Saraband  rugs  are  made  in  the 
mountain  district  of  Sarawan,  just 
south  of  Feraghan.  Here  we  find  a 
people  wiio  adhere  in  their  rug-making 
to  all  the  traditions  of  the  past.  There 
have  been  no  innovations  here:  the 
modern  is  the  antique  in  fine,  close 
weave,  quality,  and  design. 

Rows  of  the  small  palm  pattern,  each 
row  facing  in  an  opposite  direction, 
cover  the  entire  center,  of  dark  blue, 
rich  red,  ivory,  or  rose  shade,  making 
86 


SARABAND 


Loaned  by  Mr.  Myron  J.  Bird,  New  York  City 


Persian  Rugs 

a most  attractive  and  beautiful  rug, 
one  that  finds  favor  with  most  people. 

Whether  this  design  is  in  imitation  of 
the  loop  of  the  sacred  river  of  India, 
or,  as  Professor  Goodyear  would  have 
it,  its  origin  is  in  the  lotus-flower,  the 
fact  remains  that  this  device  is  known 
as  the  Saraband  pattern.  It  is  copied 
by  the  makers  of  Mossoul,  Kurdish, 
and  other  rugs.  Artistic  borders  are 
numerous,  one  with  wavy  lines  con- 
necting palm  patterns  on  an  ivory 
ground,  and  the  narrow  ones  with 
wavy  lines  and  rosettes,  all  of  which 
are  often  bounded  on  the  inner  and 
outer  edge  by  Vandykes  in  blue. 

These  rugs  are  of  fine  texture,  and  of  Material  and 
closely  woven,  closely  cut  pile  of  wool,  Fmish 
which  grows  silky  with  age.  The 
warp  and  woof  are  of  cotton.  The 
ends  are  finished,  one  with  narrow  web 
and  the  other  with  fringe;  the  sides 
are  overcast  in  red  wool. 


87 


Sizes 


Country 


How  to  Know  Oriental  Rugs 

They  come  in  sizes  from  three  to 
five  by  four  to  nine  feet  and  from  six 
to  nine  to  twelve  by  twenty  feet,  and 
also  in  runners  from  two  and  a half  to 
four  by  ten  to  twenty  feet. 

FERAGHAN 

The  plain  of  Feraghan,  seven  thou- 
sand feet  above  the  sea,  surrounded  by 
mountains,  lies  just  west  of  the  line 
of  travel  between  Teheran  and  Ispa- 
han. The  mountains  of  this  region 
resemble  the  Highlands  of  Scotland, 
and  in  the  clannishness  of  the  people 
and  their  feuds  they  remind  one  of 
Scott’s  stories  of  Scottish  border  life. 
The  hillsides,  where  large  flocks  find 
pasturage,  are  radiant  with  flowers — 
the  tulip,  iris,  narcissus,  carnation,  red 
anemone,  scarlet  poppy,  yellow  snap- 
dragon, flower  of  henna,  and  others  dot 
nature’s  carpet  with  brilliant  color- 
ings. So  that  perhaps  this  is  one  rea- 
88 


Persian  Bugs 

son  for  the  close  all-over  floral  patterns 
of  the  old  Feraghans,  which  are  among 
the  finest  rugs  of  the  old  looms. 

There  are  two  characteristic  de-  Designs 
signs — one,  the  Herati,  with  its  flow- 
ers enclosed  in  cloud  bands,  like  the 
Herat  rugs,  and  the  other,  the  “ flower 
of  henna,”  its  tree-like  shapes  of  yel- 
low flowers  arranged  in  rows  through 
the  carpet  and  surrounded  by  a pro- 
fusion of  floral  designs.  Sometimes 
a medallion  center,  with  the  tulip 
and  other  flowers,  is  set  in  the  center 
of  a floral  field;  or,  again,  from  free 
and  graceful  curves  in  the  center  are 
flower-stalks  united  with  rhomboids, 
with  flowers  from  the  center;  but  what- 
ever the  design,  the  garlands  of  flowers 
are  in  subdued  colors.  The  borders 
are  an  important  feature,  of  which  the 
ground  of  the  widest  is  often  of  a soft, 
restful  green,  with  wavy  lines  connect* 
ing  floral  patterns. 


89 


Colors 


Texture 


Material  and 
Finish 


How  to  Know  Oriental  Rugs 

The  field  is  usually  dark  blue,  some- 
times a soft  red  or  ivory,  which  gives 
a rich  coloring,  although  the  modern 
rugs  are  more  pronounced  and  less  re- 
fined in  tone. 

While  they  are  a firm  and  durable 
rug,  they  are  more  loosely  woven  than 
the  Kermanshah  and  Senna.  The  mod- 
ern Feraghan,  made  in  great  numbers, 
is  of  coarser  texture,  with  longer  pile 
than  the  antiques,  and  may  be  consid- 
ered an  excellent  rug  of  the  cheaper 
quality  of  Persians.  It  is  well  suited 
to  living-rooms,  and  the  coarser  ones 
for  summer  homes  and  offices.  The 
difference  in  texture  is  accounted  for 
by  the  number  of  knots  to  the  square 
inch.  While  antiques  have  from  one 
hundred  to  one  hundred  and  fifty, 
moderns  have  as  low  as  thirty. 

The  warp  and  woof  are  of  cotton 
and  the  pile  of  good  wool,  closely  cut 
in  the  old  and  longer  in  the  new.  The 
90 


1,  Minr 


V , 


Persian  Rugs 

edge  is  overcast  in  black,  and  the  ends, 
one  with  narrow  selvage  and  the  other 
with  a short  fringe. 

They  come  in  all  sizes,  from  three 
by  five  to  eight  by  twenty  feet,  with 
many  carpet  sizes. 

The  name  Iran  is  often  given  to 
these  rugs,  but  it  may  be  applied  to 
all  Persian  rugs,  as  Iran  was  the  an- 
cient name  of  Persia. 

SARUK 

Into  the  little  village  of  Saruk,  con- 
taining no  more  than  one  hundred  and 
fifty  houses,  among  the  mountains  of 
the  province  of  Feraghan,  no  foreign 
influence  has  permeated,  and  conse- 
quently a rug  of  purely  Persian  de- 
signs of  surpassing  effects  is  made. 
Flowers  are  strewn  with  very  realistic 
effect  upon  a field  of  dark  blue  or  red; 
or  irregular  medallions,  scattered  over 

9i 


Size 


Iran 


Village 


Design 


Colors 


Texture  and 
Material 


Finish  and 
Size 


How  to  Know  Oriental  Rugs 

the  field,  with  corners  to  match,  cut  off 
irregularly,  surrounded  by  great  rich- 
ness of  floral  patterns,  give  to  them  a 
great  charm.  One  wide  and  two  or 
more  narrow  borders,  with  the  usual 
floral  effect,  are  often  finished  with  a 
plain  border  like  the  field. 

Rich  shades  in  blue  and  red  in  per- 
manent dyes  predominate,  with  stip- 
plings  of  white  here  and  there. 

They  are  a very  closely  woven  rug, 
having  as  many  knots  to  the  square 
inch  as  any  rug  made,  even  rivaling 
the  Kirman  and  Senna  rugs  in  this  re- 
spect. The  pile,  of  fine  silky  wool,  is 
closely  cut,  and  the  warp  and  woof  are 
of  cotton. 

The  edges  are  overcast  in  dark  wool, 
and  the  ends  are  finished  with  narrow 
web  at  one  end  and  short  fringe  at  the 
other.  In  size  they  range  from  three 
by  five  to  twelve  by  twenty  feet. 


92 


Persian  Rugs 


HEREZ 

In  the  mountain  districts  of  Azer- 
bijan,  east  of  Tabriz  and  southwest  of 
the  Caspian  Sea,  is  the  old  rug  district 
of  Herez.  While  these  mountain 
tribes  formerly  made  a rug  of  no  par- 
ticular merit,  resembling  in  some  re- 
spects the  modern  Hamadan  rugs,  they 
have  more  recently  borrowed  ideas 
from  their  neighbors,  and  the  result  is 
the  rugs  known  as  Gorevan,  Serapi, 
and  Bakshaish,  all  having  the  same 
family  type,  but  varying  in  quality. 
This  is  one  of  the  districts  where  the 
modern  rug  is  a great  improvement 
over  those  of  earlier  times.  The  weav- 
ers have  refused  to  be  controlled  by 
outside  influence,  hence  their  rugs  have 
the  true  Oriental  feeling — they  have 
something  of  the  ruggedness  of  the  sur- 
rounding mountains  in  them. 


Country 


93 


Design  of 
Gorevan 


Serapi  and 
Bakshaish 


Texture, 
Material,  and 
Size 


How  to  Know  Oriental  Rugs 

The  Gorevan  rugs,  made  in  great 

numbers,  contain  large,  pronounced 
medallions,  in  rich  blues  or  ivory,  on 
open  fields  of  light  or  dark  red,  light 
blue,  brown,  or  ivory.  The  character- 
istic note  is  a brilliancy  of  coloring  and 
a boldness  of  outline  almost  barbaric 
in  depth  and  tone.  They  are  the  most 
pronounced  rug  of  the  whole  Oriental 
family,  and  yet  have  much  artistic  feel- 
ing, due  to  the  harmonious  blending 
of  colors  and  the  native  originality  in 
adapting  designs.  The  comers  are 
often  serrated,  and  the  borders  are  in 
bold  figures,  to  match  the  centers. 

The  Serapi  are  of  finer  quality,  of 
closer  texture,  and  shorter  pile;  they 
are  softer  in  outline,  finer  in  detail 
work,  and  of  more  refined  colors  than 
the  Gorevan.  The  Bakshaish  are  still 
a grade  finer  and  rarer. 

These  rugs  are  firm  and  strong,  of 
good  wool  and  permanent  dyes.  The 
94 


Persian  Rugs 

warp  and  woof  are  of  cotton.  The 
sides  are  overcast,  and  the  ends  have 
short  fringe.  They  come  in  large  sizes 
only,  from  eight  to  fifteen  by  ten  to 
twenty- five  feet;  many  of  them  are 
nearly  square. 

HAMADAN 

In  the  northwestern  part  of  Irak  is 
Hamadan,  the  ancient  Ecbatana,  the 
home  of  Esther  and  Mordecai.  It  is 
to-day  inhabited  by  many  Jews,  and  is 
the  fourth  city  of  commercial  impor- 
tance in  Persia,  but  in  a state  of  decay. 
About  the  city  in  all  directions  the  rug- 
weaving industry  is  an  important  one, 
and  the  city  is  the  market  for  their 
products. 

With  its  splendid  history  back  of  it, 
and  its  reputation  for  artistic  rugs  in 
the  past,  much  might  be  expected  of 
its  fabrics  to-day;  but  the  antiques  are 
rare,  and  the  modern  rug  a coarse  one 

95 


Country 


Design 


Material  and 
Size 


How  to  Know  Oriental  Rugs 

of  the  old  Herez  type,  the  cheapest  of 
the  Persians. 

The  rugs  of  the  district  have  a 
marked  individuality.  The  medallion 
center,  with  corners  to  match,  filled 
with  floral  designs,  on  a field  of  light 
camel’s  hair,  ivory,  red,  or  blue,  is  sur- 
rounded by  a border  in  light  and  dark 
browns,  relieved  by  a rich  floral  stripe 
through  it.  The  use  of  camel’s  hair  in 
its  natural  color  in  the  pile  makes  a rug 
which  lends  itself  to  color  effects  in 
browns,  yellows,  and  light,  neutral 
tints.  This,  with  its  beautiful,  silky 
luster,  makes  it  a favorite  with  many. 

The  warp  and  woof  are  of  cotton, 
and  the  pile  chiefly  of  camel’s  hair. 
These  rugs  come  in  all  sizes,  as  small 
as  two  feet  nine  inches  by  four  to  six 
feet,  and  runners  twenty-eight  or  thirty 
feet  in  length,  as  well  as  occasionally 
in  carpet  sizes.  Their  saddle-bags  are 
numerous. 

9 6 


Persian  Rugs 


SULTANABAD 

Sultanabad,  in  the  mountains  of 
Irak  northwest  of  Ispahan  and  almost 
due  west  of  Kashan,  is  the  center  of  a 
rug  industry,  including  nearly  two 
hundred  villages,  within  the  radius  of 
twenty-five  miles.  The  district  is  a 
most  picturesque  one,  with  mountains 
and  fertile  plains,  with  a great  variety 
of  trees  and  flowers,  with  many  little 
villages  of  mud  huts  surrounded  by 
mud  walls,  and  with  nomad  tribes, 
who  spend  their  summers  in  the  hills, 
only  to  return  to  their  winter  camping- 
grounds  farther  south. 

The  industry  here  is  directed  en- 
tirely by  European  firms.  Says  Mr. 
Wigham:  “ It  must  be  understood  that 
these  firms  do  not  superintend  factories 
run  on  European  lines.  Their  carpets 
are  made  in  Sultanabad  and  the  sur- 


Country 


7 


97 


Individual 

Touch 

Necessary 


How  to  Know  Oriental  Rugs 

rounding  villages,  exactly  as  they  are 
anywhere  else  in  Persia.  It  is  the  busi- 
ness of  the  firms  to  supply  the  wools 
and  the  dyes  and  to  dictate  the  patterns 
and  to  receive  the  work  when  finished. 
Sometimes  they  buy  up  carpets  that 
are  brought  in  to  them  by  villagers 
who  have  made  them  in  their  own  ma- 
terial according  to  their  own  ideas; 
but  generally  speaking,  each  rug  is 
made  according  to  instructions  and 
subject  to  a contract  price.  They  have 
hundreds  of  designs  collected  from  all 
sources,  copies  from  ancient  patterns, 
designs  from  European  firms  or  inven- 
tions of  their  own,  while  they  have  spe- 
cially retained  Persian  designers,  who 
are  paid  to  do  nothing  else  but  invent.’’ 
It  is  unnecessary  to  say  that  all  rugs 
of  the  Sultanabad  district  possess  ar- 
tistic qualities,  although  many  of  them 
do;  but  it  is  as  they  adhere  to  the  de- 
signs in  the  old  types  of  Persian  rugs 
98 


aacffiasx 

. - •'  w U 


KASHAN  SILK 

Loaned  by  Kent-Costikyan,  New  York  City 


Persian  Rugs 

that  they  are  most  successful.  It  is  the 
individual  touch,  so  indicative  of  the 
genuine  article,  which  is  lacking,  and 
for  whose  presence  we  contend  to  pre- 
serve the  art  spirit  of  the  true  Persian 
rug. 

These  rugs  are  made  of  a good  qual- 
ity of  wool,  with  vegetable  dyes,  and 
in  any  size,  although  the  large  sizes 
are  usual.  The  names  Savalan,  usu- 
ally given  to  rugs  of  light  color,  Mus- 
kabad,  and  “ Extra  Persian  ” all  be- 
long to  this  district. 

ISPAHAN  AND  OTHERS 

The  rugs  known  as  Ispahan  are  an- 
tiques made  at  the  city  of  Ispahan  in 
Shah  Abbas’s  time  in  the  sixteenth 
century  and  later  when  it  was  the  cap- 
ital of  Persia.  Their  qualities  are  in- 
dicative of  the  ancient  grandeur  of 
the  Shah’s  surroundings,  and  make 

99 


Materials 


Antiques 


How  to  Know  Oriental  Rugs 

them  worthy  to  be  counted  among  the 
“ treasury  goods  ” of  Persia. 

Typical  Rug  A typical  rug  of  the  Ispahan  variety 
may  be  thus  described:  On  a more 
open  field  than  many  antiques,  of  beau- 
tiful crimson  or  deep  wine-color, 
which  has  come  to  be  known  as  Ispa- 
han red,  are  large  palmettes  or  rich 
floral  patterns,  proportionately  dis- 
tributed, and  connected  by  swinging 
creepers  with  serrated  leaves  so  ar- 
ranged as  to  resemble  an  enlarged  He- 
rati  pattern.  The  wide  border,  be- 
tween two  narrow  ones,  often  has  the 
palmettes  between  serrated  leaves  on 
an  old  yellow  field.  These  rugs  are 
rare,  and  are  sometimes  found  in  small 
as  well  as  carpet  sizes. 

Holy  Carpet  At  Kashan,  not  far  from  Ispahan, 
of  Ardebil  tke  n0\y  Carpet  of  Ardebil,  one  of 

the  most  famous  carpets  in  the  world 
— now  in  the  South  Kensington  Mu- 
seum, London— was  made  for  the 


100 


Persian  Rugs 

mosque  of  Ardebil.  Mr.  Stebbing,  in 
his  book  on  “ The  Holy  Carpet,”  de- 
scribes the  rug  most  minutely.  It  is 
thirty-four  feet  six  inches  in  length  by 
seventeen  feet  six  inches  in  width,  and 
well  preserved  as  to  texture  and  col- 
ors. The  ground,  of  rich  blue,  cov- 
ered with  intricate  floral  designs  and 
flowing  creepers,  has  a central  medal- 
lion, with  corners  to  match,  of  pale 
yellow,  from  which  extend  little  jewel- 
shaped figures,  and  from  the  center  of 
the  medallion  sacred  lamps.  Of  the 
three  borders,  one  wide  between  two 
narrow  ones,  the  inner  has  a cream 
ground  and  the  outer  a tawny  yellow, 
with  small  floral  designs  and  traceries; 
and  the  wide  border  has  a rich  brown 
ground,  with  elongated  and  rounded 
figures  alternating,  surrounded  by  a 
profusion  of  floral  lines.  At  one  end 
it  has  the  inscription,  signature,  and 
date  of  which  we  have  before  spoken. 


10 1 


“ Arabic’  * 
Rugs 


How  to  Know  Oriental  Bugs 

The  so-called  “ Arabic  ” rugs,  with 
geometrical  patterns,  scrolls,  and  de- 
tached figures,  with  minute  designs 
within,  are  doubtless  of  very  early  Per- 
sian weave.  The  ground  is  frequently 
of  the  Ispahan  red.  They  come  in  me- 
dium sizes,  and  are  very  rare. 


102 


CAUCASIAN  RUGS 


2 . Daghestan. 

6. 

2.  Cabistan. 

7- 

3.  Tzitzi. 

8. 

4.  Malgaran. 

9- 

5.  Derbend. 

10. 

Kasak. 

Guenja. 

Cashmere. 

Shirvan. 

Karabagh. 


Ill 


CAUCASIAN  RUGS 

The  country  of  the  Caucasian  or  Country  and 
Caucasus  rugs  lies  between  the  Black  People 
and  Caspian  Seas  on  both  sides  of  the 
Caucasus  Mountains,  extending  south 
to  Persia  and  touching  Turkey  on  the 
southwest.  The  mountain  range  which 
gives  this  country  its  name  extends  as 
an  impassable  barrier  for  seven  hun- 
dred miles  from  the  Sea  of  Azof  to  the 
Caspian,  with  but  one  way  through 
— the  Dariel  Pass.  This  pass,  or  door- 
way, with  its  perpendicular  walls  four 
thousand  feet  high,  surmounted  by  the 
ruins  of  Queen  Tamara’s  Castle,  has 
been  made  into  a military  road  by  the 
Russians.  The  whole  country  is  most 

105 


How  to  Know  Oriental  Rugs 

interesting  and  picturesque,  with  mag- 
nificent scenery,  wonderful  resources, 
and  a people  with  a history  dating  back 
two  thousand  years.  About  its  early 
history  cluster  many  legends,  among 
them  that  of  Jason  and  his  golden 
fleece,  for  Colchis  strand  is  at  the  foot 
of  the  Caucasus;  and  Mount  Kazbek 
is  the  scene  of  Prometheus’s  suffer- 
ings. Many  a warrior  has  led  his  fol- 
lowers to  the  foot  of  the  Caucasus,  only 
to  find  it  too  great  a barrier  to  cross, 
and  each  has  left  some  remnant  of  his 
people,  so  that  tribes  of  various  nations 
inhabit  this  country  to-day.  Alexan- 
der went  northward  to  Dariel  Pass, 
as  did  Pompey  and  Justinian.  The 
Turks  conquered  the  native  tribes,  and 
were  later  expelled  under  the  leader- 
ship of  David  II,  a Georgian  prince. 
The  twelfth  century  marks  their  glo- 
rious age,  with  Queen  Tamara  as  their 
idol.  They  succumbed  to  Genghis 
io  6 


Caucasian  Rugs 

Khan,  to  the  Persians,  and  last  to  Rus- 
sia in  1859  after  a struggle  of  twenty 
years  under  their  chief,  Shamyl.  It  is 
Russia’s  work  now  to  unify  this  eight 
millions  of  people  of  many  races  and 
religions.  Of  her  native  people  there 
are  sixty  or  seventy  different  tribes, 
speaking  different  languages  and  dia- 
lects. They  are  a simple,  agricultural 
people  to-day,  peaceful  and  prosper- 
ous, cultivating  the  soil,  tending  their 
flocks,  and  making  in  their  homes  rugs, 
swords,  felt,  and  cloth  from  Astrakhan 
— all  with  the  mark  of  merit  upon 
them.  Mr.  Henry  Norman,  in  his 
“ Russia  of  To-day,”  quotes  from  Mr. 
Clinton  Dent  as  thus  describing  this 
country  and  people:  “ If  you  worship 
the  mountains  for  their  own  sake,  if 
you  like  to  stand  face  to  face  with  Na- 
ture when  she  mingles  the  fantastic  and 
the  sublime  with  the  sylvan  and  idyllic 
— snows,  crags,  mists,  flowers,  and  for- 

107 


Art  from 
Persia 


How  to  Know  Oriental  Rugs 

ests  in  perfect  harmony — where  she 
enhances  the  effects  of  her  pictures  by 
the  most  startling  contrasts  and  en- 
livens the  foregrounds  with  some  of 
the  most  varied  and  picturesque  speci- 
mens of  the  human  race — go  to  the 
Caucasus.  If  you  wish  to  change  not 
only  your  earth  and  sky,  but  your  coun- 
try, to  find  yourself  one  week  among 
the  pastoral  folk  who  once  peopled 
northern  Asia,  the  next  among  the 
barbarians  who  have  been  left  strand- 
ed while  the  rest  of  the  world  has  fol- 
lowed on ; if  it  attracts  you  to  share  the 
bivouac  of  the  Tauli  shepherds,  to  sit 
at  supper  with  a feudal  chieftain  while 
his  retainers  chant  the  old  ballads  of 
their  race  by  the  light  of  birch-bark 
torches — go  to  the  Caucasus.” 

Such  is  the  Caucasus  rug  district  to- 
day. These  people,  doubtless,  learned 
the  art  of  rug-weaving  from  the  Per- 
sians; but  in  their  mountain  fastnesses, 
108 


DAGHESTAN 


Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn. 


Caucasian  Rugs 

surrounded  by  snow-capped  peaks, 
they  have  developed  their  artistic  gen- 
ius in  their  own  way,  unaffected  by 
outside  influence. 

In  designs,  their  rugs  have  distinct 
geometrical  patterns  on  a clear  ground 
with  little  or  no  shading,  but  with 
great  harmony  of  color.  There  is 
usually  one  tone,  to  which  all  colors 
are  subordinated.  They  lack  all  the 
richness  and  warmth  of  color  of  the 
Persian  fabrics,  but  possess  vigor  and 
crispness  and  clearness  of  detail,  allied 
to  the  snow-capped  peaks  of  the  Cau- 
casus Mountains  as  they  stand  out  in 
sharp  outline  against  the  sky.  Almost 
every  conceivable  geometrical  form  is 
used:  the  eight-pointed  star  of  the 
Medes  as  well  as  the  six-pointed  star 
of  the  Mohammedans,  the  triangle, 
diamond,  square,  medallions  in  quaint 
shapes,  tarantula-shaped  figures,  and 
an  all-over  fretwork.  The  “ latch 

109 


Designs 


How  to  Know  Oriental  Bugs 

hook,”  thought  to  be  a modification 
of  the  swastika,  a great  feature  of  all 
rugs  of  this  district,  borders  nearly  all 
patterns,  and  so  takes  the  place  of 
shading.  On  account  of  its  almost  uni- 
versal use  it  has  been  called  the  “ trade- 
mark” of  the  Caucasus  rugs.  The 
“ barber-pole  ” stripe,  too,  borrowed 
from  the  Turkomans,  is  much  used  in 
border  stripes.  Another  characteristic 
border  consists  of  designs  with  saw- 
teeth  on  each  side  alternating  with  a 
goblet-shaped  figure,  said  to  represent 
the  lotus  in  water.  The  countries  of 
the  Trans-Caucasus,  separated  from 
Persia  only  by  the  river  Aras,  show 
sometimes  a strong  Persian  influence 
in  the  use  of  floral  designs,  but  they  are 
so  modified  as  to  lose  the  grace  of  the 
true  Persian  pattern.  As  the  greater 
portion  of  these  people  are  Moham- 
medans, no  figures  of  birds  or  animals 
are  used,  except  the  little  “ Noah’s  ark 

i io 


Caucasian  Rugs 

animals  ” in  the  rugs  of  the  southern 
districts. 

These  rugs  differ  from  the  Persian  Material 
in  that  the  warp  and  woof  are  both 
usually  of  wool,  and  they  are  tied  with 
the  Ghiordes  knot.  The  wool  of  the 
pile  is  fine,  sometimes  of  lamb’s  wool, 
and  the  dyes,  with  the  exception  of  the 
Karabagh  rugs,  are  good,  although  one 
must  be  on  his  guard  to  detect  anilin 
dyes  in  any  rugs  of  the  district,  for 
Russian  control  does  not  insure  good 
dyes,  but  rather  the  reverse. 

The  Caucasian  rugs  are  usually  in 
small  sizes.  The  prayer-rug  is  made  in 
most  varieties. 

DAGHESTAN 

Daghestan,  or  “ mountain  land,”  as  Country  and 
the  name  implies,  is  an  eastern  prov-  People 
ince  of  the  Caucasus,  bordering  on  the 
Caspian  Sea  and  sloping  northward  to 


in 


How  to  Know  Oriental  Bugs 

the  Russian  steppes.  The  country  is 
intersected  by  deep  gorges,  between 
which  are  table-lands,  furnishing  good 
pasturage  for  flocks  of  sheep  and  goats. 
The  country  is  peopled  by  the  Les- 
ghians,  a patrician  race,  who  are  di- 
vided into  numerous  clans,  but  who 
unite  when  there  is  a common  cause,  as 
they  did  under  their  hero,  Shamyl, 
who  led  the  whole  Caucasian  people 
against  Russia. 

Rugs  The  Daghestan  weave  of  rugs  is  one 
of  the  oldest  and  most  popular  types 
of  the  Caucasus,  and  the  rugs  of  to-day 
still  are  woven  after  the  same  patterns 
as  centuries  ago.  They  were  among 
the  first  rugs  brought  to  this  country, 
and  still  hold  a large  place  in  the  fa- 
vor of  connoisseurs.  Antique  Daghes- 
tans,  most  evenly  and  beautifully  wo- 
ven and  of  artistic  coloring,  are  rare. 
So  many  of  these  were  made  for  devo- 
tional purposes,  and  have  been  handed 


1 12 


Caucasian  Rugs 

down  from  generation  to  generation, 
that  one  is  particularly  fortunate  to 
obtain  any  of  them.  But  many  of  the 
new  rugs  have  the  old  designs  and  col- 
ors, the  same  vegetable  dyes,  fine  wool, 
and  silky  texture,  and  are  still  well 
made. 

The  central  ground,  usually  ivory, 
producing  a surface  of  high  lights,  is 
covered  with  geometrical  designs  of 
various  patterns.  The  all-over  fret- 
work is,  perhaps,  the  oldest  type;  but 
we  find  the  medallion,  the  star,  the 
diamond  scattered  through  the  field, 
with  many  little  detached  figures,  the 
larger  ones  many  times  outlined  with 
the  “ latch  hook.”  The  prayer-rug  de- 
sign with  the  pointed  mihrab  is  very 
common.  The  border  has,  in  general, 
three  main  stripes  on  a cream-colored 
or  light-ivory  ground,  with  rectangu- 
lar designs;  one  often  seen  is  the  fig- 
ure with  reciprocal  saw-teeth  alter- 

8 1 13 


Designs 


How  to  Know  Oriental  Rugs 

nating  with  a goblet-shaped  figure; 
this  doubtless  represents  the  lotus 
growing  in  water.  The  borders  are 
separated  by  lines  of  plain  color  or 
with  the  narrow  twisted  pattern  or 
“ barber-pole,”  and  often  bounded  by 
Vandykes. 

Color  A great  variety  of  colors  are  used — 
light  and  dark  blue,  red,  yellow,  ivory, 
and  green.  Harmony  of  color  is  one  of 
the  great  features  of  Daghestan  rugs, 
and  is  wonderful  when  we  consider 
in  what  bold  relief  the  designs  are 
worked  out,  and  what  clear,  strong 
tones  are  used. 

Materials,  The  warp  and  woof  are  of  wool, 
TeXp^f,hand  either  white  or  gray  or  a mixture  of 
the  two,  and  the  pile  is  of  fine,  soft 
wool,  giving  a surface  rich  and 
smooth,  soft  and  silky.  These  rugs  are 
thin,  firmly  woven,  skilfully  made,  and 
hence  durable.  The  ends  have  a nar- 
row woven  selvage  with  knotted 
114 


Caucasian  Rugs 

fringe,  and  the  sides  are  finished  in 
colored  wool. 

The  Daghestan  rug  is  small,  from  Size 
three  by  five  to  five  by  eight  feet,  never 
in  carpet  size. 

They  have  greatly  increased  in  value 
in  the  past  few  years,  due  to  the  fact 
that  no  modern  methods  of  industry 
have  been  introduced,  and  so  the  de- 
mand is  much  greater  than  the  supply, 

CABISTAN 

The  district  of  Kuba,  in  the  south-  Country 
eastern  part  of  Daghestan,  near  the 
Caspian  Sea,  is  the  home  of  the  Cabis- 
tan  rugs. 

The  rugs  of  this  district  are  among  Best  of 
the  best  of  the  Daghestans,  and  by  some  Da8hestans 
are  called  “ Daghestan  of  Kuba  qual- 
ity ” ; and  while  they  resemble  the 
Daghestan  rugs  in  texture  and  design 
so  much  that  they  are  often  mistaken 
for  them,  they  have  some  characteris- 
es 


How  to  Know  Oriental  Bugs 

tics  which  warrant  a separate  classify 
Character-  cation.  First,  they  are  long,  narrow 
lstlcs  rugs,  from  three  and  one-half  to  four 
and  one-half  by  seven  to  ten  feet,  and 
claimed  by  some  to  be  made  for  the 
special  purpose  of  spreading  between 
the  graves  of  the  relatives  of  the 
wealthy.  Considered  in  this  light,  we 
can  read  in  the  beautiful  weave,  color, 
and  varied  patterns  all  the  tenderness 
of  the  family  feeling  for  the  deceased, 
as  each  member  contributed  his  part 
to  the  memorial.  This  may  account 
for  the  fine  quality  of  the  Cabistan 
rugs.  Second,  a Persian  influence, 
shown  in  the  darker,  richer  coloring 
and  in  the  blending  of  tones,  produ- 
cing a most  artistic  effect,  as  well  as  in 
some  floral  designs,  distinguishes  them 
from  the  Daghestan  proper.  Third, 
they  are  finished  like  the  Daghestans, 
except  that  the  sides  are  overcast  or 
selvaged  with  cotton  threads. 

1 1 6 


Caucasian  Rugs 

The  geometrical  figures  of  intricate 
design  and  constantly  changing  pat- 
tern are  hard  to  describe,  but  are  un- 
mistakably Caucasian:  the  elongated 
stars  on  a plain  ground  covered  with 
all  kinds  of  rectangular  figures,  even 
the  little  crude  animal  and  bird  de- 
signs, the  center  field  filled  with  per- 
pendicular stripes,  the  transverse  rows 
of  rectangular  pear  pattern  making 
diagonal  stripes,  or  the  ordinary  fret 
pattern,  all  are  found.  The  prayer- 
rug  design  is  never  made.  The  “ bar- 
ber-pole ” stripe,  in  width  from  a 
quarter  of  an  inch  to  an  inch  and  a 
half,  is  used  to  separate  the  borders, 
one  of  which  has  the  large  geometrical 
designs. 

The  warp  is  of  wool  or  cotton,  the 
woof  of  cotton,  and  the  pile  of  short, 
fine  wool. 

The  Cabistan  rug  is  a most  desirable, 
moderate-priced  rug,  of  artistic  worth. 

1 17 


Design 


Material 


How  to  Know  Oriental  Rugs 


Country 


Rugs 


Design 


TZITZI  OR  CHICHI 

In  the  northwestern  part  of  Daghes- 
tan is  a nomadic  tribe  of  mountaineers, 
called  the  Tchetchens,  a powerful 
tribe,  the  men  of  whom  are  many  of 
them  over  six  feet  in  height.  They  are 
quite  distinct  in  blood  and  language 
from  any  of  the  other  tribes  near  them, 
and  are  considered  by  some  to  be  of 
Jewish  descent,  a remnant  of  the  lost 
tribes. 

But  whatever  their  origin,  they 
make  a rug  resembling  the  Shirvan  in 
texture,  with  a mixture  of  Caucasian 
and  Persian  designs.  Sometimes  the 
blue  center  is  covered  with  diamond- 
shaped figures  or  fretwork,  like  the 
Daghestans,  and  again  decorated  with 
rosettes  or  the  palm  pattern,  like  the 
Persians;  the  borders  have  a combina- 
tion of  geometrical  and  floral  designs. 

1 1 8 


TZITZI 

Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn. 


Caucasian  Rugs 

Like  most  nomadic  textiles,  great  indi- 
viduality of  taste  is  shown  in  the  selec- 
tion of  patterns. 

The  colors  are  usually  dark,  and  the 
texture  looser  than  most  rugs  of  the 
Daghestan  district.  The  warp,  woof, 
and  pile  are  of  fine  wool  and  good 
dyes.  The  sides  and  ends  are  finished 
like  the  Daghestans. 

Two  characteristics  must  be  noticed: 
they  are  nearly  square,  about  four  by 
five  or  five  by  six  feet;  and  the  pattern 
is  one  which  repeats  itself  over  the  en- 
tire field. 

MALGARAN 

In  this  country  of  the  Caucasus,  as 
we  have  pointed  out,  there  are  many 
distinct  tribes  and  peoples,  most  of 
whom  are  rug  weavers.  From  one 
of  these,  not  far  to  the  west  of  the 
Tchetchens,  comes  a rug  called  the 
“ Malgaran,”  of  a type  which  is  dis- 
tinctly of  the  Daghestan  family,  but 

119 


Color  and 
Materials 


How  to  Know  Oriental  Rugs 

with  quite  an  individuality  of  its 
own. 

The  marks  by  which  this  rug  is 
best  known  are:  first,  they  are  small, 
from  about  three  to  four  feet  in  length 
and  from  two  to  two  feet  six  inches 
in  width,  occupying  on  account  of  size 
a middle  place  between  mats  and  the 
small  rugs,  and  as  it  is  a size  much  de- 
sired, there  is  a great  demand  for  them; 
second,  they  are  made  of  a quality 
of  wool  which  takes  more  of  a luster 
than  the  ordinary  Daghestan;  third, 
the  warp  and  woof  are  made  of  white, 
hard-twisted,  lustrous  wool,  which 
forms  the  selvage  at  the  sides,  and  is 
woven  into  a narrow  web  at  the  ends 
with  a fringe  tied  in  knots. 

A typical  Malgaran  in  design  may 
be  described  as  having  a rich  red  or 
dark-blue  field,  on  which  are  octagons 
very  many  times  and  very  deeply  in- 
dented, giving  the  “ latch-hook  ” ef- 

X 2Q 


Caucasian  Rugs 

feet.  In  the  center  of  these  and  in 
other  parts  of  the  field  are  stars, 
squares,  or  little  tree-shaped  figures,  in 
spaces  having  an  ivory  ground.  The 
three  borders,  nearly  of  the  same 
width,  are  separated  by  a twisted 
stripe.  They  vary  in  pattern,  with 
both  floral  and  geometrical  designs  in 
browns,  blues,  rich  reds,  and  tawny 
yellows.  The  outer  border  is  fre- 
quently divided  into  rhomboids  of 
three  alternating  colors,  and  with  a 
modification  of  the  “ latch  hook  ” in 
design. 

DERBEND 

The  city  of  Derbend,  or  “ fortified  City 
gate,”  situated  in  Daghestan,  on  the 
Caspian  Sea,  was  for  many  years  a mil- 
itary outpost  of  the  Persians  against 
the  northern  hordes.  It  is  a city  of 
commercial  importance,  and  a market 
for  other  rugs  than  those  made  in  and 
around  the  city. 


I 2 I 


Barbaric 

Note 


Design  and 
Color 


How  to  Know  Oriental  Rugs 

The  makers  of  the  Derbend  rugs  are 
of  the  Tartar  race,  and  so  we  find  a 
strong  barbaric  note  in  their  rugs,  al- 
though closely  akin  to  the  Caucasus 
rugs  in  design.  They  are  coarser, 
heavier,  thicker,  more  closely  woven, 
and  larger  than  the  Daghestan  rugs, 
which  they  resemble  in  patterns.  They 
have  the  deep,  thick  pile  of  the  Kasak, 
and  the  luster  of  the  Mossoul — in  fact, 
they  are  many  times  taken  for  a coarse 
Mossoul. 

The  elongated  star,  or  other  geo- 
metrical designs,  in  bold  outlines,  with 
the  “ latch  hook  ” as  border,  on  a blue, 
ivory,  or  red  field,  is  a characteristic 
feature.  The  borders  have  large,  geo- 
metrical patterns,  and,  like  the  Da- 
ghestan, separated  by  stripes  of  plain 
color.  Many  striking  colors,  in  red, 
blue,  and  yellow,  give  to  the  rug  a cer- 
tain savage  tone,  unlike  the  Daghes- 
tans. 


122 


Caucasian  Rugs 

The  warp  is  of  brown  wool  or  goat’s 
hair,  and  the  woof  and  pile  of  good 
wool.  The  sides  are  usually  overcast 
in  colored  wool,  and  the  ends  are  either 
like  the  Daghestans,  with  short  web 
and  knotted  fringe,  or  with  the  wide 
web  of  the  Turkoman  fabrics.  A com- 
mon size  of  this  rug  is  five  to  six  by  ten 
feet.  It  is  a rug  of  little  artistic  worth, 
and  but  few  are  found  in  our  markets. 

KASAK 

In  the  district  of  Erivan,  near  Lake 
Goktcha,  and  in  sight  of  Mount  Ara- 
rat, live  the  nomad  Kasak  tribes  of  the 
Caucasus.  Their  origin  is  unknown, 
but  they  are  related  to  the  Cossacks  of 
Russia,  and  probably  left  here  the  rem- 
nant of  an  invading  race.  They  are  a 
brave,  independent,  and  clever  people, 
resembling  the  Turkomans,  and  doubt- 
less are  of  the  same  stock.  They  are 

123 


Material  and 
Finish 


Size 


Country  and 
People 


How  to  Know  Oriental  Rugs 

shepherds,  with  some  brigands  among 
them,  noted  for  their  daring  horse- 
manship; they  build  no  houses,  but 
burrow  in  the  soil,  where  they  stay  in 
the  winter,  and  go  to  the  mountains  in 
the  summer. 

Character-  Cossack,  a wild,  bold,  restless  horse- 
Rugs  man^  js  originai  0f  Kasak,  and  the 
rug  of  the  same  name  expresses  the 
characteristics  of  their  makers  in  a 
most  peculiar  way  by  showing  the 
strength  and  instincts  of  the  race.  They 
are  easily  distinguished  from  all  other 
rugs  of  the  Caucasus  by  their  heavy 
and  firm  texture,  long,  lustrous  pile, 
bold  figures,  and  brightness  and  rich- 
ness of  coloring.  There  is  a note  ex- 
pressive of  their  free  life  in  the  dash 
and  freedom  with  which  the  figures 
are  placed  upon  the  field. 

Designs  Upon  a ground  of  rich  red,  soft 
green,  bright  pink,  or  ivory  are  stri- 
king geometrical  devices,  said  to  rep- 
124 


KASAK 


Loaned  by  Mr.  John  B.  Baird,  St.  Paul,  Minn. 


' 


\ 


Caucasian  Hugs 

resent  a coat  of  arms,  or  octagonal 
shields  with  smaller  designs  of  squares, 
circles,  diamonds,  stiff  little  animal 
figures,  or  conventionalized  flowers, 
scattered  throughout  the  field,  and 
framed  in  bold  borders  of  harmonious 
colors.  The  chief  design  of  the  bor- 
ders is  the  tarantula-shaped  figure  with 
the  family  trade-mark,  the  “ latch 
hook  ” in  many  forms,  and  often  bor- 
dered by  Vandykes. 

The  colors  are  always  rich  and  Colors 
striking  and  strongly  massed ; red, 
blue,  green,  yellow,  ivory,  and  white 
are  the  predominating  ones. 

The  warp  and  woof  are  of  wool,  and  Material  and 
the  pile  of  long,  fine,  lustrous  wool,  Texture 
which  becomes  very  silky  with  age, 
taking  on  a sheen  surpassed  by  few 
rugs.  This  may  be  partly  due  to  the 
fact  that  four  threads  of  the  woof  are 
thrown  across  between  each  row  of 
knots,  making  the  pile  lie  so  that  you 

125 


Finish  and 
Size 


Desirable 


Country  and 
People 


How  to  Know  Oriental  Rugs 

see  the  side  of  the  yarn  rather  than 
the  clipped  ends. 

The  sides  are  finished  in  a wide 
selvage  in  colored  wools;  and  of  the 
ends,  one  is  sometimes  finished  with  a 
fringe,  but  often  with  loose  ends  of  the 
warp,  and  the  other  with  a short  sel- 
vage. These  rugs  are  often  square  or 
nearly  so,  from  four  to  six  by  six  to 
eight  feet  or  five  by  nine  feet. 

The  Kasak  is  highly  prized  by  many 
lovers  of  rugs  on  account  of  its  striking 
Oriental  note;  it  is  especially  desirable 
where  strong  color  effects  are  required. 
The  antiques  are  rare  and  valuable, 
and  the  modern  rugs  of  good  values. 

GUENJA  OR  GENGHIS 

The  town  of  Elizabethpol,  almost 
due  east  of  Lake  Qoktcha,  before  Rus- 
sian possession  was  called  Ganja.  It 
was  formerly  a Persian  metropolis,  and 
126 


Caucasian  Bugs 

the  center  to  which  the  nomad  tribes 
in  this  vicinity  brought  the  products  of 
their  looms,  hence  the  name  Guenja 
rug.  There  are  various  nomad  tribes 
who  range  from  Elizabethpol  south- 
ward who  are  known  as  the  “ Genghis 
people,”  showing,  doubtless,  their 
Turkoman  origin,  and  who  are  so  re- 
lated to  the  weavers  of  the  Kasak  rugs. 

It  is,  perhaps,  unnecessary  to  de-  Rugs 
scribe  the  Guenja  rugs,  except  by  say- 
ing that  they  may  be  considered  a poor 
grade  of  Kasak,  with  coarser  pile, 
looser  texture,  cruder  colors;  and  in- 
stead of  being  nearly  square,  range  in 
size  from  three  by  four  to  five  by  ten 
feet. 

CASHMERE  OR  SOUMAK 

The  Cashmere  or  Soumak  rugs  are  Country  and 
not  from  the  Vale  of  Cashmere,  in  In-  People 
dia,  as  the  name  might  suggest,  but  are 
made  by  the  nomad  tribes  in  and  about 

127 


Distinguish- 
ing Marks 


How  to  Know  Oriental  Rugs 

Shemakha,  the  old  capital  of  Shirvan, 
and  are  called  Cashmere  in  this  coun- 
try from  the  resemblance  of  the  wrong 
side  to  that  of  Cashmere  shawls. 

Besides  this  distinguishing  feature 
of  the  long  ends  hanging  loose  on  the 
wrong  side,  due  to  the  fact  that  each 
time  a change  in  color  is  made  the 
yarn  is  pulled  through  and  left  an 
inch  or  two  in  length,  these  rugs,  un- 
like any  other  except  the  khilims,  have 
no  pile,  but  are  worked  with  a flat 
stitch  by  means  of  a needle.  Each 
stitch  is  made  diagonally,  taking  in 
two  or  three  threads  of  the  warp. 
Every  alternate  row  the  stitches  face 
in  an  opposite  direction,  making  the 
herring-bone  pattern.  The  whole  ef- 
fect is  of  a fine  mosaic.  These  rugs 
never  take  a luster,  but  are  most  at- 
tractive because  of  the  great  attention 
paid  to  detail  of  designs,  which  are  on 
the  Daghestan  and  Shirvan  order. 

128 


Caucasian  Rugs 

A typical  rug  may  be  described  as 
having  three  or  more  large  medallions 
on  a field  of  dark  blue  or  red,  with 
octagonal  figures  within  and  on  either 
side.  The  latter  from  their  designs 
are  called  “ Zela,”  and  are  said  to  rep- 
resent the  seasons.  The  central  field, 
as  well  as  the  medallions,  are  strewn 
with  geometrical  figures  and  little 
“ Noah’s  ark  animals.”  All  designs 
are  outlined  in  black,  and  the  “ latch 
hook  ” is  often  used  to  its  utmost. 
There  are  usually  four  borders:  two 
narrow  ones  on  an  ivory  ground,  be- 
tween which  is  the  wide  border  with 
zigzag  lines  of  red  and  blue  on  a black 
field,  and  the  outer  one,  with  a modi- 
fication of  the  “ latch  hook.” 

These  rugs  have  the  rich  coloring  of 
the  south  more  than  the  coldness  of  the 
northern  fabrics  — dark  red  and  blue, 
green,  yellow,  white,  and  black  pre- 
dominate. Great  harmony  of  color 
9 129 


Typical 

Pattern 


Colors 


Material  and 
Texture 


Antiques  and 
Moderns 


How  to  Know  Oriental  Rugs 

and  artistic  effect  is  produced  by  the 
softening  of  lines  through  the  use  of 
the  “ latch  hook.” 

Cashmere  rugs  are  of  good  wool, 
and  are  many  times  so  closely  woven 
that  they  are  harsh  to  the  touch;  the 
degree  of  closeness  depends  on  whether 
the  woof  is  carried  across  between 
every  one,  two,  or  three  rows  of  stitch- 
es. The  sides  are  overcast  in  dark  wool, 
and  the  ends  have  long,  light  fringe. 

There  are  a few  antiques  to  be  had 
of  fine  texture,  with  colors  toned  down 
to  a quiet  harmony;  and  there  are  many 
new  ones  produced  with  the  same  pa- 
tience, the  same  beauty  of  design,  ma- 
terials, and  dyes,  although,  as  in  some 
other  rugs,  much  undesirable  work  is 
offered  to  the  public. 

They  range  in  sizes  from  four  to 
nine  by  six  to  twelve  feet,  and  a few 
larger  ones,  about  eight  by  twelve  feet. 


Size 


Caucasian  Rugs 


SHIRVAN 

The  home  of  the  Shirvan  rugs  is  the  Country  and 
district  south  of  Daghestan,  separated  People 
from  it  by  the  Caucasus  Mountains, 
and  extending  from  the  Caspian  Sea  to 
the  River  Kur.  Baku,  or  “ place  of 
the  winds,”  is  the  trade  center  of  this 
district,  an  important  railroad  and 
shipping-point.  It  is  probably  more 
famous  for  its  naphtha  and  oil  wells 
than  for  anything  else;  but  it  was  of 
old  a place  much  revered  by  the  fire- 
worshipers  of  Persia,  and  since  Russia 
has  controlled  this  country  the  Par- 
sees  of  Bombay  send  a priest  to  care 
for  the  temple  built  over  one  of  these 
springs,  and  to  keep  the  light  burning. 

With  the  entrance  of  Russia  and  the  Effect  of 
railroad,  the  commercial  spirit  is  Commerce 
abroad  in  the  land;  and  owing  to  the 
great  demand  for  rugs,  they  have  fall- 


Designs  and 
Colors 


Materials 
and  Finish 


Shirvan 

Khilim 


How  to  Know  Oriental  Rugs 

en  below  the  old  standard  in  quality, 
texture,  and  dyes,  but  this  spirit  has  not 
been  so  detrimental  to  the  fabrics  as  in 
Karabagh — in  fact,  many  modern  rugs 
have  real  worth. 

All  the  designs  of  the  Daghestan 
rugs  are  found  here,  with  often  some 
Persian  influence  in  the  borders.  The 
prayer  pattern  is  much  used.  We  find 
great  variety  and  great  contrasts  in 
color,  the  latter  being  heightened  by 
the  close  trimming  of  the  pile. 

The  warp  is  of  white  or  gray  wool 
or  a mixture  of  the  two,  the  woof  of 
wool  or  cotton,  and  the  pile  of  fine 
wool,  closely  cut,  which  gives  an  un- 
usually thin  texture  to  the  rug.  The 
ends  are  finished  with  web  and  fringe, 
often  knotted,  and  the  sides  are  either 
overcast  or  selvaged. 

There  is  a Shirvan  khilim  somewhat 
heavier  and  coarser  than  the  Senna 
khilim,  and  differing  from  it  in  design. 

132 


SHIRVAN 


Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn, 


Caucasian  Rugs 

This  khilijm  is  woven  in  stripes  across 
the  rug  with  bold,  regular,  geometrical 
designs  in  red  and  blue  on  an  ivory 
ground  enclosed  in  stripes  of  plain  red, 
blue,  and  green.  They  are  made  in  the 
khilim  stitch,  without  pile,  and  of  good 
wool.  The  open-work  spaces  are  much 
larger  than  in  the  Senna  khilim. 

KARABAGH 

The  province  of  Karabagh  lies  south  Country 
of  the  Caucasus  in  the  angle  between 
the  old  historic  river  Arax  and  the 
Kur.  It  is  a remarkably  fertile  coun- 
try, with  mountain  streams  coursing 
through  it,  and  its  natural  resources  are 
but  partially  developed. 

When  a dependency  of  Persia,  the  Rugs  of  In- 
rugs, of  which  few  remain,  were  0f  fenorQuallty 
good  workmanship;  but  since  the  in- 
fluence of  Russia  has  predominated, 
and  the  demand  for  rugs  has  been 

133 


Size  and 
Color 


Designs 


Materials, 
Texture,  and 
Finish 


How  to  Know  Oriental  Rugs 

greater,  they  have  deteriorated  from 
their  former  standard,  and  are,  per- 
haps, the  most  inferior  product  of  the 
loom  imported. 

They  are  usually  small  rugs,  from 
three  and  one-half  to  five  feet,  some- 
times larger,  of  crude,  vivid  colors, 
poor  dyes,  and  devoid  of  all  artistic 
qualities.  The  glaring  blues,  reds,  and 
yellows,  on  a white  field,  are  anything 
but  pleasing. 

While  the  borders  adhere  more 
closely  to  the  Caucasus  designs,  the  cen- 
ters defy  description.  Many  prayer- 
rugs  are  seen  with  figures  of  the  hands 
on  each  side  of  the  prayer-point. 

The  wool  of  both  warp  and  woof  is 
coarse,  the  pile  longer  and  heavier 
than  the  Shirvan  rugs,  and  they  are 
more  loosely  woven.  The  sides  are 
overcast  in  colored  wools  and  the  ends 
left  loose,  or  made  into  a short  web  and 
hemmed  back. 


i34 


Caucasian  Rugs 

Karajagh  runners  are  made  just  Karajagh 
south  of  the  Karabagh  district;  and  as 
they  are  marketed  at  Tabriz,  where 
they  compete  with  Persian  fabrics, 
they  are  of  better  quality  than  the  Kar- 
abagh rugs. 


i3S 


KURDISTAN  RUGS 


I.  Persian  Kurdistan.  3.  Turkish  Kurdistan. 

%.  Sarakhs.  4.  Mossoul. 

5.  Khilim. 


IV 


KURDISTAN  RUGS 

The  home  of  the  Kurdistan  rugs  is 
not  a natural  or  political  division,  but 
is  wherever  the  Kurds  live,  both  in 
Persia  and  Turkey.  They  may  be 
found  in  the  country  extending  south 
from  Armenia  to  the  plains  of  the 
Tigris  River  and  east  to  the  Luristan 
Mountains,  and  also  a few  tribes  in 
Anatolia  and  in  northern  Khorasan. 

Their  origin  is  unknown;  some 
claim  that  they  are  descendants  of  the 
Medes,  and  so  Aryan,  and  others  that 
they  are  of  Turanian  stock.  This  we 
know,  that  Saladin  was  a Kurd;  and 
we  may  take  him  as  a type  of  the  best 
Kurd  of  to-day,  for  they  are  a power- 
ful race,  with  strong,  well-shaped  fea- 

i39 


Country 


People 


How  to  Know  Oriental  Rugs 

tures,  with  open  countenances  and 
open  hearts,  hospitable  and  frank  to 
friends,  but  unscrupulous  and  cruel  to 
foes.  They  possess  strong  tribal  at- 
tachments. They  are  a people  with  lit- 
tle history,  no  literature,  and  yet  a dis- 
tinct race.  Even  those  whom  Shah 
Abbas  transplanted  in  the  sixteenth 
century  to  northern  Khorasan  to  act 
as  a barrier  against  the  warlike  Turko- 
mans still  retain  their  native  martial 
habits,  still  wear  their  untrimmed  hair 
and  beards  and  the  tall  sheepskin  bon- 
nets. They  are  Mohammedans,  and 
under  Persian  rule  more  subject  to  law 
than  ever  in  their  history,  but  in  Tur- 
key they  are  still  wild  and  lawless. 

Peculiar  It  is  not  strange,  then,  that  this  peo- 
TypeofRugpje  weave  a distinct  type  of  rug, 
whether  we  find  them  in  rude  villages 
or  in  their  tents  made  of  black  goat’s- 
hair  blankets  stretched  upon  poles. 
They  make  a heavy,  closely  woven  rug, 
140 


wmmWM 


PERSIAN  KURDISTAN 
Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn. 


Kurdistan  Rugs 

using  the  Ghiordes  knot.  Their  wool 
is  of  exceedingly  fine  quality,  and  their 
designs  are  largely  borrowed  from 
Persia,  with  a few  from  the  Caucasus; 
but  they  show  their  originality  in  com- 
bining them,  giving  their  work  bold- 
ness of  design  and  richness  of  coloring. 

Their  rugs  are  noted  for  shading  of 
colors  and  for  harmony  of  tones,  as 
well  as  for  permanence  of  dyes. 

PERSIAN  KURDISTAN 

Living  as  the  Persian  Kurds  do,  in  Character  oi 
one  of  the  most  fertile  parts  of  Persia,  Rugs 
in  the  western  mountain  districts,  with 
fine  pasture  for  their  flocks,  which  are 
of  good  breed,  they  have  for  their  rugs 
a soft  lustrous  wool,  which  they  make 
into  the  heaviest  carpets,  whose  very 
texture  is  indicative  of  the  character  of 
the  makers — so  firm  and  unbending. 

The  designs  are  usually  Persian:  Designs 

141 


How  to  Know  Oriental  Rugs 

the  medallion,  with  corners  to  match, 
on  a plain,  rich  red  or  blue  field,  is  a 
favorite  pattern,  as  well  as  the  smaller 
designs  of  the  Senna,  Feraghan,  and 
Saraband  rugs,  for  they  seem  to  love  a 
pattern  which  repeats  itself  through- 
out the  field;  or  sometimes  scattered 
over  the  whole  dark  field  with  no- 
madic freedom  are  small  medallions  of 
various  sizes,  with  flowers  and  rosettes 
in  bright  colors.  The  borders,  often 
narrow  for  the  size  of  the  rug,  are  in 
harmony  with  the  center,  but  with 
bolder  outlines  than  the  Persian.  They 
make  many  rugs  with  the  prayer  de- 
sign, for  which  they  use  the  soft  down 
obtained  from  the  winter  combings  of 
the  sheep  and  goats.  These  are  rare 
and  expensive,  as  are  those  made  of 
silk. 

In  colors,  rich  reds  and  deep  blues 
predominate,  with  yellow  and  green. 
These  people  seem  to  have  a poetic 

142 


Colors 


Kurdistan  Rugs 

sense  of  color,  so  that  their  combina- 
tions produce  rich,  harmonious  effects, 
and  they  are  adepts,  too,  in  the  matter 
of  shading  and  dyeing. 

Their  rugs  are  so  closely  woven,  Texture  and 
with  each  row  of  knots  pressed  down  Matenal 
with  such  force,  that  they  are  many 
times  hard  when  new,  but  become 
softer  and  of  a beautiful  sheen  with 
use.  Sometimes  a heavy  thread  is 
thrown  across  with  the  warp  for  fill- 
ing, giving  a “ body  ” to  the  carpet. 

The  largest  carpets  are  the  heaviest 
made,  and  all  of  them  are  among  the 
very  best.  Both  warp  and  woof  are  of 
wool,  sometimes  in  the  natural  color, 
and  the  pile  is  of  strong  wool,  kurk, 
goat’s  or  camel’s  hair,  or  silk. 

These  rugs  have  a narrow  selvage,  Finish  and 
with  a line  of  colored  wool  worked 
into  it,  which  is  a distinguishing  fea- 
ture of  all  Kurdish  rugs.  The  sides  are 
overcast  in  brown  wool.  In  size  they 

i43 


How  to  Know  Oriental  Rugs 

vary  from  four  to  five  by  seven  to 
eight  feet,  making  a nearly  square  rug, 
and  oblong  shapes  from  five  to  twelve 
by  nine  to  twenty  feet. 

Use  These  rugs  are  durable  and  artistic, 
with  a true  Oriental  spirit;  they  are 
suitable  for  entrance-halls,  libraries,  or 
any  place  where  strong  tones  and  rich, 
decorative  effects  are  needed. 

SARAKHS  OR  LULE 

Country  and  At  the  most  northwestern  point  of 
People  Khorasan,  in  the  angle  on  two  sides 
of  which  are  the  Turkomans  of  Merv, 
is  the  frontier  post  of  Sarakhs.  For 
many  years  Persia  was  so  annoyed  by 
repeated  and  unlooked-for  attacks  and 
inroads  of  the  Turkoman  tribes  that 
Shah  Abbas,  in  the  sixteenth  century, 
placed  tribes  of  Kurds  from  the  west 
to  guard  this  boundary. 

Rugs  Various  nomad  tribes  of  mixed  ori- 


144 


Kurdistan  Rugs 

gin,  but  most  of  them  Kurds,  once 
made  magnificent  carpets  of  fine  qual- 
ity of  tone  and  durability,  with  a dis- 
play of  great  originality  and  beauty  in 
the  combination  of  colors,  quite  won- 
derful from  an  artistic  point  of  view,  as 
well  as  in  a simplicity  of  design,  which 
has  the  true  art  note.  In  texture  they 
resembled  the  Kurdistan  rugs,  above 
described,  but  were  not  so  heavy.  To- 
day their  fabrics  do  not  possess  the 
artistic  qualities  of  the  Persian  Kurds; 
they  are  not  deserving  of  the  old  name 
of  Lule  or  pearl,  but  have  deterio- 
rated much  from  their  former  stand- 
ard— where  beautiful  curves  of  the 
old  Arabic  type  were  used  in  the  me- 
dallions and  corner-pieces,  now  are 
straight  lines,  and  in  color  there  is 
more  crudeness. 

The  patterns  are  pronounced  and  Designs 
irregular:  the  bold,  floral  medallion,  Col° 
with  serrated  corners  on  a shaded  field 


10 


145 


Materials 
and  Finish 


Kurds  of 
Turkey 


How  to  Know  Oriental  Rugs 

of  Egyptian  or  Indian  red,  sapphire 
blue,  tawny  yellow  or  camel’s  hair,  is 
the  most  characteristic  design.  Cu- 
rious figures  of  animals  and  birds  oc- 
cur. The  borders,  harmonizing  with 
the  centers  in  their  bold  patterns,  are 
enclosed  in  a plain  band,  the  color  of 
the  field.  The  prayer-rug  is  made  and 
also  the  mosque  carpet  with  several 
prayer  niches,  but  they  are  usually  in 
carpet  sizes. 

These  rugs  are  heavy,  thick,  and 
durable.  The  warp  and  woof  are  of 
heavy  wool,  and  the  pile  of  lustrous 
wool.  One  end  is  finished  with  a 
selvage,  which  is  sometimes  doubled 
back  and  woven  in,  and  the  other  has 
fringe.  The  sides  are  overcast. 

TURKISH  KURDISTAN 

The  Kurds  of  Turkey,  “ the  free 
Arabs  of  the  mountains,”  as  they  are 
146 


Kurdistan  Rugs 

called,  wander  in  the  low  countries  in 
the  winter  and  seek  the  hill  pastures  in 
the  summer-time;  fewer  of  them  be- 
come stationary  than  of  the  Persian 
Kurds.  The  women  weave  rugs,  and 
the  business  of  the  men  is  often  war  and 
plunder.  They  are  said  to  be  hand- 
some, of  fine  physique,  with  strikingly 
brilliant  and  picturesque  costumes,  and 
in  their  tent-life  have  an  appearance  of 
comfort  and  industry. 

The  rugs  of  the  northern  tribes  are 
not  marketed  at  Tabriz,  where  they 
would  compete  with  Persian  fabrics, 
but  at  Tiflis,  in  the  Caucasus,  where 
they  are  shown  side  by  side  with  the 
Karabagh  and  Guenja  rugs,  and  the 
quality  does  not  in  any  way  compare 
with  the  rugs  of  the  Kurds  of  Persia. 
They  bear  a very  close  resemblance  to 
the  Guenja  rugs,  but  are  heavier  and 
more  closely  woven.  The  quality  of 
wool  is  good,  but  coarse;  and  the  warp 

i47 


Anatolian 
Kurdish  Rug 


Country  and 
People 


How  to  Know  Oriental  Bugs 

and  woof  are  in  the  natural  color  of 
brown  wool. 

There  is  also  an  Anatolian  Kurdish 
rug,  which  resembles  the  Yuruk  in 
bold  designs,  long,  shaggy  pile,  fine 
wool  and  dyes,  and  the  braided  warp- 
threads  for  a finish.  These  rugs  are 
many  times  very  crooked,  and  so  unde- 
sirable. 

MOSSOUL 

Within  sight  of  the  ruins  of  the  an- 
cient city  of  Nineveh  is  Mossoul,  the 
great  rug  market  of  the  Tigris  Valley. 
Few,  if  any,  of  the  Mossoul  rugs  are 
made  in  or  immediately  around  the 
city  of  Mossoul,  but  by  wandering 
tribes  of  Kurds  and  Bedouins,  whose 
textile  products  find  market  at  Mos- 
soul, and  who  inhabit  the  country  from 
Lake  Van  southeast  to  the  Persian  bor- 
der, and  many  of  whom  wander  to  the 
warm  plains  of  the  Euphrates  in  the 
148 


Kurdistan  Rug's 

winter.  As  when  Abraham  left  Ur  of 
Chaldea  to  go  to  Canaan,  taking  with 
him  all  his  wealth  in  flocks  of  sheep 
and  goats,  so  these  pastoral,  nomad 
tribes  may  be  seen  folding  their  oval 
goat’s-hair  tents,  lading  their  women 
with  their  household  furnishings, 
which  consist  of  rugs,  caldrons  for 
cooking,  and  a few  wooden  bowls  and 
platters,  and  seeking  new  pasture-lands 
for  their  flocks.  A few  of  the  tribes 
have  become  sedentary.  The  women 
do  the  weaving  and,  in  fact,  most  of  the 
work,  and  the  men  are  given  to  plun- 
dering. 

While  the  country  is  under  Turkish  Designs 
rule,  the  rugs  of  this  district  have  none 
of  the  characteristics  of  the  Anatolian 
carpets.  They  follow  either  the  floral 
patterns  of  the  Persian  rugs  or  the 
geometrical  designs  of  the  Caucasus; 
and  while  in  color  and  blending  of  col- 
ors they  resemble  the  Persians,  they  are 

149 


Materials 
and  Colors 


Finish  and 
Size 


How  to  Know  Oriental  Rugs 

of  much  heavier  and  coarser  texture. 
The  weavers  of  Mossoul  rugs  show  no 
originality  in  designs;  the  Saraband 
and  Feraghan  patterns  are  often  seen, 
as  well  as  various  designs  of  the  Da- 
ghestans. 

These  rugs  have  a thick,  coarse 
pile,  of  good  wool,  camel’s  or  goat’s 
hair  of  rich  sheen;  the  warp  and  woof 
are  of  either  wool  or  cotton.  The  col- 
ors, rich,  soft,  and  mellow,  are  of  good 
dyes,  often  with  browns  and  yellows 
predominating.  Sometimes  a band  of 
camel’s  hair,  in  the  natural  color,  en- 
closes the  rug  (as  a border) . They  are 
a durable  rug,  and  often  a favorite  on 
account  of  the  color  effects  in  soft  yel- 
lows, golden  browns,  greens,  blues,  or 
reds,  which  can  be  obtained  by  their 
use.  The  usual  tone  is  dark. 

The  edges  are  overcast  in  dark  wool, 
and  the  ends  selvaged,  with  color 
woven  in.  The  usual  size  is  about  four 
150 


MOSSOUL 

Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn. 


Kurdistan  Bugs 

by  eight  feet;  there  are  also  runners, 
from  two  to  four  by  twenty  feet,  and 
most  desirable  saddle-bags. 

KURDISH  KHILIM 

Throughout  the  Kurdish  districts 
khilims  are  made  for  use  as  rugs  and 
tent-hangings,  and  by  the  horsemen  as 
mantles  to  throw  about  them  in  their 
journeyings  by  day  and  as  a bed  or 
covering  at  night.  They  are  without 
pile,  but,  like  the  rugs  of  this  district, 
are  often  very  artistic,  having  more  re- 
finement of  color  and  less  striking  de- 
signs than  the  Shirvan  khilims.  They 
are  closely  woven,  without  the  open- 
work spaces,  either  in  one  piece  with 
stripes  of  geometrical  designs  across 
the  width,  or  in  a heavier  plain  piece, 
or  in  several  stripes  joined  together, 
with  embroidered  designs,  often  quite 
elaborate.  Some  of  these,  called  dji- 

151 


How  to  Know  Oriental  Rugs 

jims,  are  large  and  of  fine  quality. 
The  ends  are  finished  with  wide-woven 
web,  like  the  Turkoman  rugs,  or  some- 
times have  an  edge  woven  in  an  at- 
tractive pattern  and  sewed  on. 


152 


TURKISH  RUGS 


1.  Ghiordes. 

2.  Koulah. 

3.  Bergamo. 

4.  Ladic. 


5.  Yuruk. 

6.  Milas 

7.  Kaisarish. 

8.  Khilim. 


Modern  Turkish. 


V 

TURKISH  RUGS 


The  country  of  the  Turkish  rugs  is 
the  district  of  Asia  Minor,  or,  as  the 
Greeks  termed  it,  Anatolia,  the  “ land 
of  the  sunrise.’’  We  know  it  as  one  of 
the  oldest  parts  of  the  world,  a his- 
toric land:  the  land  of  the  Iliad  and 
Homer;  the  home  of  a wonderful 
early  Greek  civilization,  with  its  arts, 
industries,  and  commerce,  supplanted 
in  succession  by  Persian,  Roman,  and 
Turkish  rule.  We  associate  with  its 
past  the  early  apostolic  churches,  the 
crusaders  on  their  way  to  Palestine; 
but  to-day  it  is  the  land  of  Moham- 
medanism and  stagnation.  This  dis- 
trict is  about  the  size  of  France — a 
very  fertile  table-land,  surrounded  by 

155 


Country 


How  to  Know  Oriental  Rugs 

mountain  ranges,  with  valleys  sloping 
to  the  Black  Sea  on  the  north  and  to 
the  Mediterranean  on  the  west  and 
south.  Its  natural  resources,  under 
Turkish  rule,  are  only  partially  devel- 
oped; but  the  finest  grade  of  wool  for 
rug-making  is  produced  in  great  quan- 
tities, as  well  as  mohair  from  the  An- 
gora goat,  silk,  cotton,  linen,  and  dye- 
stuffs in  abundance. 

People  Its  people  we  call  Turks,  but  there 
are  many  Greeks  almost  as  pure  in 
lineage  as  those  of  Greece  proper, 
Kurds,  partly  sedentary  but  mostly 
nomadic  shepherds,  Turkomans  of  the 
mountain  districts  of  the  Taurus,  Ar- 
menians, Jews,  and  Europeans.  With 
the  exception  of  the  cities  like  Smyrna, 
Broussa,  and  Adana,  where  European 
influence  is  felt  through  its  commerce, 
the  life  of  the  people  is  very  primitive. 

In  many  parts  of  Anatolia  the  rug- 
weaving people  still  carry  on  the  in- 
156 


Turkish  Rugs 

dustry  as  of  old — one  family  raising,  Rug-Weav- 
carding,  spinning  the  wool,  making  m§d^cted 
the  dyes  and  designs,  and  weaving  the  Foreigners 
carpet.  Among  these  people  we  find  a 
genuine  article;  but  merchants,  bent  on 
supplying  the  Western  market,  have, 
in  certain  districts  of  the  western  part 
of  Asia  Minor  around  Smyrna,  which 
is  the  Oriental  rug  market  for  Tur- 
key in  Asia,  abolished  the  old  system 
of  individual  work,  and  are  directing 
the  work  of  thousands  of  weavers,  sup- 
plying them  with  materials  and  de- 
signs and  demanding  a certain  article. 

While  this  has  been  done  in  Persia  in 
the  province  of  Azerbijan  and  at  Sul- 
tanabad  with  comparatively  good  re- 
sults, in  Turkey  the  modern  rugs  are 
so  unlike  the  old  that  it  is  a misnomer 
to  call  them  by  the  same  names.  The 
commercial  spirit  has  so  permeated 
Asia  Minor  that  unless  something  is 
done  to  encourage  the  individual  in- 

157 


How  to  Know  Oriental  Rugs 

dustry  of  rug-making  it  will  soon  be  a 
thing  of  the  past,  which  we  shall  all 
regret,  for  among  the  antique  Turkish 
rugs  are  some  masterpieces.  If  for- 
eign merchants  would  only  take  as  pat- 
terns the  early  examples  of  this  art, 
they  would  be  the  greatest  benefactors 
in  preserving  one  of  the  most  desirable 
types  of  rugs.  What  Turkey  needs  is 
a Shah  Abbas  to  encourage  the  best 
that  can  be  done.  This,  indeed,  is  be- 
ing done  in  a small  way  by  the  present 
Sultan,  for  he  has  made  a collection  of 
carpets  said  to  be  the  finest  in  the 
world;  and  at  Hereke,  fifty  miles  from 
Constantinople,  he  has  established  an 
art  school  and  a factory,  where  Greek 
girls  study  the  designs  of  these  art 
treasures  and  reproduce  them  as  nearly 
as  possible  in  color  and  texture.  As 
yet  this  has  had  no  influence  on  the 
products  of  Anatolia,  but  it  surely  will 
if  continued. 

158 


Turkish  Rugs 

The  prayer-rug  doubtless  originated 
in  Asia  Minor,  where  we  find  it  in  per- 
fection and  with  most  elaborate  pat- 
terns. Both  floral  and  geometrical  de- 
signs abound — the  floral  less  lifelike 
than  in  many  Persian  rugs.  Perhaps 
the  most  characteristic  feature  of  the 
floral  patterns  is  the  various  flowers — * 
pinks,  tulips,  hyacinths— in  profile  or 
silhouetted  on  the  plain  field,  with  the 
stems  serving  as  connecting  lines.  The 
geometrical  patterns  are  less  pro- 
nounced than  in  other  varieties,  and 
the  “ latch  hook  ” less  frequently  used. 

The  materials  for  rug-making  are  of 
the  best.  The  wool  of  Anatolia,  much 
of  which  is  raised  by  Turkoman  tribes, 
is  of  specially  fine  quality,  and  is  spun 
loosely,  giving  a fluffy  appearance  and 
producing  a soft  blending  of  colors. 
An  attempt  to  introduce  spinning  ma- 
chines has  failed,  and  it  is  all  done  by 
hand  in  various  homes.  The  Angora 

159 


Designs 


Materials 


How  to  Know  Oriental  Rugs 

goat  furnishes  a fine  grade  of  mohair, 
which  makes  a rug  with  a beautiful 
sheen  when  new,  but  it  soon  becomes 
matted,  and  is  not  as  durable  as  wool. 
Silk  and  cotton  are  both  raised  in 
abundance.  The  warp  and  woof  of 
these  rugs  are  usually  of  wool. 

In  early  days  the  dyes  were  veg- 
etable and  permanent,  for  Anatolia 
abounds  in  dyestuffs,  but  its  nearness 
to  the  Occident  has  brought  the  anilin 
dyes  into  use  to  a large  extent;  how- 
ever, there  is  an  attempt  being  made 
to  return  to  permanent  dyes.  Red,  a 
favorite  color  in  Turkey,  is  made  from 
madder,  which  grows  abundantly;  and 
the  tawny  yellow,  so  much  used,  is 
from  Persian  berries.  Green,  a sacred 
color  with  the  Mohammedans,  is  sel- 
dom seen  except  in  prayer-rugs  or 
those  designed  for  mosques.  Whatever 
the  colors,  they  are  usually  bright  and 
rich,  but  well  blended. 

160 


Texture 


Turkish  Rugs 

The  fluffy  wool  gives  to  the  Ana- 
tolian rugs  a peculiar  softness  to  the 
touch.  They  are  more  loosely  woven, 
of  longer  and  thicker  nap  than  the  Per- 
sian rugs,  and  are  tied  with  the 
Ghiordes  knot. 

The  antique  Anatolians  are  all  small,  Size 
but  to-day  many  carpet  sizes  are  made. 

GHIORDES 

A little  to  the  northeast  of  Smyrna  Country 
is  the  small  city  of  Ghiordium,  made 
famous  in  olden  times  by  Alexander 
the  Great  in  his  cutting  of  the  Ghior- 
dium knot,  but  known  in  more  recent 
times  as  the  home  of  a rug  of  most  ex- 
quisite colors,  designs,  and  workman- 
ship— a real  masterpiece  of  the  weav- 
er’s art. 

Many  of  the  old  prayer-rugs,  upon  Best  Turkish 
which  Mohammedans  have  prostra-  Rug 
ted  themselves  in  the  act  of  devotion, 

11  161 


Design 


How  to  Know  Oriental  Bugs 

have  been  preserved,  and  are  too  pre- 
cious to-day  to  tread  under  foot,  so  are 
used  chiefly  as  wall  decorations.  This 
is  the  best  rug  Turkey  has  ever  pro- 
duced and  one  which  has  seldom  been 
surpassed  in  any  country. 

The  prayer-rug  is  the  design  in 
which  the  people  of  Ghiordium  ex- 
celled: the  center,  of  a beautiful 
green,  blue,  yellow,  ivory,  or  red,  is 
plain,  with  the  prayer-point  or  temple 
design  supported  by  two  pillars,  from 
the  center  of  which  hangs  a lamp. 
Sometimes  the  architectural  form, 
which  dates  back  to  Saracenic  times, 
is  not  plainly  marked;  and  at  times  the 
pillars  are  omitted  or  replaced  by  a 
modification  of  the  tree  of  life.  Some- 
times the  prayer-niche  is  changed  to 
resemble  a horseshoe  or  crescent,  per- 
haps made  for  the  Stamboul  sultans; 
and  again,  a floral  design  takes  the 
place  of  the  lamp.  The  spandrels 
162 


Turkish  Rugs 

above  the  point  are  often  filled  with 
arabesque  work  or  with  floral  conceits. 
The  central  panel  sometimes  has  a 
frieze  above  and  below.  The  borders, 
of  which  there  are  at  times  seven,  but 
usually  three — one  wide  between  two 
narrow  ones — have  narrow  ribbon 
stripes  enclosing  them.  The  designs 
are  floral,  often  very  realistic,  or  con- 
ventionalized into  rosettes  and  pal- 
mettes,  but  seldom  connected  with  the 
wavy  line  of  the  Persians — the  flower- 
stalks  sometimes  serving  the  same  end. 

Great  patience  is  written  on  the  face 
of  these  rugs  as  well  as  a deep  religious 
feeling  in  the  great  detail  of  design 
and  in  the  exquisite  handling  of  colors. 
One  tone  predominates,  which  is  the 
same  as  the  plain  center;  and  the  few 
contrasting  colors  are  so  used  in  the  in- 
tricate designs  as  to  produce  great  har- 
mony. Although  the  colors  are  bright, 
they  have  great  depth  and  mellowness. 

163 


Colors 


Materials 
and  Texture 


Finish  and 
Size 


Modern 

Ghiordes 


How  to  Know  Oriental  Rugs 

The  warp  and  woof  are  usually  cot- 
ton, like  the  Persian  rugs,  as  well  as 
some  of  the  white  figures  of  the  pile; 
sometimes  the  warp  is  of  silk  or  fine 
wool,  or  the  woof  is  of  linen.  The  pile 
is  of  the  finest  wool,  closely  cut;  and 
while  it  does  not  possess  the  sheen 
which  we  so  often  see  in  the  antique 
Persians,  it  is  very  velvety  to  the  touch. 
But  this  rug  has  not  the  texture  of  most 
Anatolians,  due  to  the  fineness  of  the 
wool. 

These  rugs  have  often  a silk  selvage 
at  the  sides,  and  an  extra  silk  fringe  at 
the  ends,  or  are  finished  with  web  and 
fringe.  The  average  size  is  four  by  six 
feet. 

The  antique  is  a thing  of  the  past, 
and  almost  unattainable;  and  the  mod- 
ern Ghiordes  is  so  changed,  so  crude, 
coarse,  and  cheap,  so  without  a distinct 
design,  that  a new  name  should  be 
given  them  and  the  name  of  Ghiordes 
164 


Turkish  Rugs 

not  be  dragged  in  the  dust.  They  are 
made  in  carpet  sizes  from  six  by  nine 
to  seventeen  by  twenty  feet. 


KOULAH 


Southeast  of  Ghiordium,  and  due 
east  of  Smyrna,  is  Koulah,  one  of  the 
old  rug-weaving  districts  of  Turkey. 
The  same  conditions  prevail  here  as  at 
Ghiordium,  namely,  that  antiques  have 
great  worth  and  that  the  modern  rugs 
are  of  inferior  quality. 

The  antique  Koulah  prayer-rug  dif- 
fers from  the  Ghiordes  in  various 
ways:  the  center,  instead  of  being 
plain,  has  a floral  pattern  extending 
through  it;  the  temple  design  has  no 
architectural  form,  and  the  arch  is  ser- 
rated. Sometimes  there  is  a point  at 
both  ends,  and  the  rug  is  then  desig- 
nated a hearth-rug;  and  in  place  of  the 
three  borders  there  are  many  narrow 

165 


Country 


Design 
differs  from 
Ghiordes 


Colors 


Materials 
and  Texture 


Modern 

Koulah 


How  to  Know  Oriental  Rugs 

ribbon  stripes,  alternating  light  and 
dark,  with  small,  detached  floral  con- 
ceits through  them. 

Tawny  yellow  and  brown  are  pre- 
dominating colors  for  the  center,  but 
ivory,  blue,  and  red  are  used,  and  the 
borders  have  blue,  green,  and  ivory. 
These  rugs  are  much  to  be  desired 
where  yellow  or  brown  effects  are 
wanted. 

The  materials  are  always  good;  the 
warp  and  woof  are  usually  of  wool, 
and  the  pile  of  fine  wool,  more  loosely 
spun  and  longer  than  the  Ghiordes, 
and  not  as  compactly  woven,  making  a 
softer  rug.  They  are  the  same  size  as 
the  Ghiordes,  about  four  by  six  feet 

The  ordinary,  modern  Koulah  is  a 
very  coarse  carpet,  of  good  materials, 
with  geometrical  and  floral  designs  of 
little  merit.  There  is  also  a mohair 
Koulah,  of  thick,  silky  pile,  which  is 
one  of  the  better  grades  of  modern 
1 66 


Turkish  Hugs 

Turkish  rugs.  These  are  both  made  in 
carpet  sizes. 

BERGAMO 

Bergamo,  or  Pergamos,  one  of  the 
old  Greek  cities  of  Asia  Minor,  lies 
about  forty  miles  northeast  of  Smyrna. 
The  ruins  that  lie  about  bespeak  its 
departed  splendor,  which  flourished 
down  to  the  time  of  the  early  Chris- 
tians, when  it  was  the  home  of  one  of 
the  churches. 

The  rugs  woven  here  of  antique 
make  are  scarce  and  much  prized  on 
account  of  their  beautiful  coloring; 
but  many  of  the  modern  ones  are  the 
most  desirable  of  all  the  present  Ana- 
tolian fabrics,  although  sometimes 
crude  in  color. 

They  usually  have  the  medallion  de- 
sign, with  the  field  well  covered  with 
geometrical  patterns,  and  with  wide 
floral  borders — the  flowers  in  profile. 

167 


Country 


Rugs 


Design, 
Color,  and 
Texture 


How  to  Know  Oriental  Rugs 

They  are  a medium-dark  rug,  in  showy 
colors — red,  yellow,  ivory,  blue,  and 
green  predominating.  In  texture  they 
are  thicker  than  either  the  Ghiordes  or 
Koulah,  are  loosely  woven,  and  take  on 
a beautiful  sheen. 

Distinguish-  Their  size  and  finish  distinguish 

mg  Marks  tjiem  fr0m  other  Turkish  rugs.  They 
are  nearly  square — from  three  by  three 
to  seven  by  eight  feet.  The  sides  are 
finished  with  a flat  selvage  in  color, 
often  with  tassels  along  the  sides  or 
with  rosettes  at  the  ends  of  wool  the 
colors  of  the  pile.  The  warp  and 
woof,  of  colored  wool,  are  woven  into 
a web  at  the  ends,  which  often  has  a 
design  worked  into  it  or  a rosette  or 
tuft  of  wool  woven  like  the  pile.  These 
are  marks  of  a Bergamo  rug,  as  is  a 
tassel  which  is  sometimes  fastened  to 
the  center  of  the  rug.  All  these  embel- 
lishments are  to  keep  away  the  “ evil 
eye.”  Sometimes  the  fringe  is  braided 
1 68 


Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn. 


Turkish  Rugs 

into  several  strands,  with  a bead  or 
charm  fastened  to  it. 

LADIC 

Not  far  to  the  northeast  of  Konieh,  Country  and 
on  the  site  of  the  ancient  Laodicea,  is  PeoPle 
to-day  a most  primitive  village,  in 
which  the  inhabitants  live  in  mud  huts 
or  in  tents,  thrash  out  wheat  on  thrash- 
ing-floors, use  the  same  primitive  im- 
plements of  industry,  and  dress  in  the 
same  costumes  as  in  days  gone  by. 

Paul  and  Barnabas  traveled  together 
over  this  country,  which  is  to-day  a 
great  pasture-land  for  sheep  and  goats, 
rich  in  undeveloped  resources. 

The  antique  Ladic,  either  in  the  Rugs 
large  prayer  pattern  so  renowned  for 
its  glory  of  color,  or  in  the  small  mats, 
from  one  to  two  and  a half  by  two  to 
three  and  a half  feet,  intended  by  the 
weavers  for  pillow  covers,  are  very 

169 


Modern 

Ladic 


Character- 

istics 


How  to  Know  Oriental  Rugs 

rare.  These  rugs,  made  of  the  finest 
soft  wool,  are  in  beautiful,  subdued 
but  rich  colors — unusual  greens,  deep 
ivory,  rich  reds,  and  light  blues  blend 
into  each  other  in  a most  artistic  fash- 
ion— and  the  designs  are  Turkish  pat- 
terns adapted  to  small  surfaces.  They 
are  finished  in  a wide  colored  selvage, 
and  the  ends  in  a web. 

The  modern  Ladic  or  Anatolian 
mats  are  coarser,  cruder  in  color,  and 
of  poorer  dyes;  but  they  are  of  good 
wool,  and  the  demand  for  them  is 
greater  than  the  supply. 

MILAS 

A short  distance  southeast  of  Smyrna 
the  Milas  or  Meles  rugs  are  made. 
They  are  a typical  Anatolian  rug,  in 
loose  weave,  coarse,  fluffy,  long  pile, 
in  rich  shades  in  the  antiques  and  in 
the  modern  of  brilliant  colors  which 
170 


Turkish  Rugs 

soon  fade  to  more  attractive  shades. 
The  general  tone  of  the  rugs  is  a golden 
color,  with  red,  blue,  and  green  sub- 
ordinated to  it.  There  is  no  character- 
istic pattern,  as  both  geometrical  fig- 
ures and  floral  designs  are  used.  One 
occasionally  sees  a brilliantly  striped 
rug,  and,  again,  a simple  prayer-rug, 
or  one  resembling  a Bergamo  in  de- 
sign. They  often  have  the  flowers  in 
profile  in  the  borders.  In  luster  and 
texture  they  resemble  the  Kasak.  The 
warp  of  wool  makes  the  colored  fringe, 
and  the  sides  are  selvaged.  They  are  a 
nearly  square  rug,  four  by  five  feet  be- 
ing the  usual  size. 

YURUK 

The  word  Yuruk  means  “wan- 
derer”; and  the  rugs  of  this  name  are 
made  by  nomad  tribes  resembling  the 
Turkoman,  who  were,  doubtless,  left 
stranded  here  after  an  invasion  of  the 

171 


Country  and 
People 


Resemblance 
to  Kasaks 


IIow  to  Know  Oriental  Rugs 

country.  They  live  in  oblong  tents, 
made  of  black  goat’s  hair,  after  the 
same  fashion  of  nineteen  hundred  years 
ago  when  Paul  was  a tent-maker  in 
this  same  country.  They  pass  their 
summers  in  the  Taurus  Mountains  and 
their  winters  in  the  fertile  plains  of 
Cilicia,  near  the  warm  Mediterra- 
nean; and  although  inhabiting  a part 
of  Turkey  they  render  allegiance  only 
to  their  tribal  chiefs. 

This  independence  of  spirit  is  shown 
in  their  rugs  as  well  as  in  their  life,  for 
they  are  unlike  any  other  Anatolian 
weave,  and  resemble  the  Kasaks  more 
than  any  other  in  their  bold  massing 
of  color  and  unusual  designs,  as  well 
as  in  the  use  of  the  “ latch  hook.” 
They  have  the  long,  fluffy  pile  and 
loose  weave  of  the  Anatolians,  which, 
with  the  brilliant  coloring,  gives  them 
a rough,  barbaric  appearance.  This, 
however,  together  with  the  depth  and 
172 


Turkish  Rugs 

richness  of  coloring,  gives  them  art 
qualities  sometimes  missed  by  one  who 
is  looking  only  for  fineness  of  texture 
and  design. 

The  best  of  wool  is  used,  which 
takes  on  a splendid  luster.  The  whole 
rug  often  has  a sort  of  metallic  bril- 
liancy, which  is  heightened  by  the  fire- 
light. The  colors  are  permanent,  as  no 
foreign  influence  has  yet  touched  them. 

These  rugs  are  finished  like  the 
Turkoman  rug,  with  colored  web  or 
with  fringe  braided  into  rough  cords. 
The  sides  are  either  selvaged  or  over- 
cast, making  a heavy,  round  edge.  As 
these  people  are  very  superstitious, 
some  irregularity  of  design  is  woven  in 
to  charm  away  the  evil  eye. 

KAISARIEH 

The  modern  city  of  Kaisarieh  is 
situated  in  the  eastern  part  of  Ana- 
tolia, southeast  of  Angora.  It  is  a 

i73 


Beautiful 

Luster 


Finish 


Rug  Center 


Term  Ana- 
tolian 


Design  and 
Finish 


How  to  Know  Oriental  Rugs 

great  rug  market  for  the  surrounding 
country,  and  the  center  of  a rug  in- 
dustry directed  by  Armenians  and 
Greeks. 

The  term  Anatolian,  while  applied 
to  all  Turkish  rugs,  has  a more  limited 
meaning,  and  has  been  used  to  desig- 
nate a certain  rug  made  near  Kaisarieh 
and  Koniah  and  marketed  at  the  for- 
mer place.  These  rugs  are  made  in 
small  sizes,  from  three  by  five  to  four 
by  seven  feet,  of  the  best  wool  from  the 
district  of  Angora. 

The  prayer-rug  follows  much  the 
same  design  as  the  old  Turkish  rugs 
with  less  care  as  to  detail,  with  a close- 
ly woven  pile  of  bright,  crude  colors. 
When  the  prayer  design  is  not  fol- 
lowed, the  rugs  are  of  long,  loose,  lus- 
trous pile,  with  geometrical  designs. 
The  warp  and  woof  are  of  wool,  and 
the  ends  are  finished  with  narrow  web 
and  fringe. 

174 


Turkish  Rugs 

There  is  a silk  Anatolian  made  at 
Kaisarieh,  which  we  speak  of  in  con- 
nection with  silk  rugs. 

TURKISH  KHILIM 

The  young  Turkish  and  Armenian 
women  weave  for  their  future  hus- 
bands, as  a betrothal  gift,  a “ bride’s 
rug,”  or  kis  khilim.  These  rugs  are 
always  of  good  wool,  of  light  weight, 
and  with  many  open-work  spaces;  and 
as  the  young  women  wish  to  show  their 
accomplishments  in  this  art  as  well  as 
their  devotion  to  their  future  lords, 
they  are  often  of  very  beautiful  design. 
They  are  made  either  in  small  sizes, 
about  four  by  five  feet,  in  the  prayer 
design,  or  in  long,  narrow  rugs  in  pairs 
and  sewed  together,  with  bold  designs 
running  across  the  width  and  a border 
at  one  side.  They  are  finished  with  a 
fringe. 


Silk 

Anatolian 


i7S 


Smyrna 

Carpets 


How  to  Know  Oriental  Rugs 

Kaisarieh  is  a great  khilim  center; 
and  here  are  also  woven  djijims,  either 
in  plain  stripes  with  embroidered  pat- 
terns, sometimes  called  “ Bagdads,”  or 
the  mosque  djijim,  in  one  piece,  with 
designs  of  mosques  or  other  figures  em- 
broidered on  them. 

MODERN  TURKISH  CARPETS 

We  have  already  spoken  of  the  mod- 
ern Ghiordes  and  Koulah  rugs.  With- 
in a radius  of  a hundred  and  fifty  miles 
of  Smyrna,  the  great  rug  market  of 
Turkey,  many  carpets  are  made, 
known  as  Turkish  or  Smyrna  carpets. 
The  work  of  rug-weaving  in  this  vi- 
cinity is  largely  directed  by  foreign 
merchants,  at  Oushak,  Ghiordium, 
Koulah,  Demirdji,  Sparta,  and  Akhis- 
sar,  where  nearly  every  house,  it  is 
said,  has  one  or  more  looms  set  up  in 
the  main  room  or  in  the  courtyard, 
176 


Turkish  Rugs 

and  where  the  weavers  no  longer  use 
their  own  designs  and  dyes,  but  are 
simply  machines,  doing  the  bidding  of 
a foreign  master.  They  are  described 
as  working  to  the  rhythm  of  weird 
chants,  from  early  morning  until  dark, 
for  the  pittance  of  eight  or  ten  cents  a 
day. 

At  Oushak,  alone,  it  is  estimated  that 
from  five  to  six  thousand  weavers  and 
dyers  are  employed.  And  here  the 
best  rugs  are  made.  They  are  some- 
times called  Kirmans  and  Gulistans, 
perhaps  on  account  of  the  medal- 
lion centers.  Bright  reds  and  greens 
prevail,  and  the  warp  and  woof  are 
dyed  the  predominating  color  of  the 
rug. 

The  distinction  of  rugs  of  modern 
make  is  one  more  of  quality  than  of  de- 
sign. They  are  usually  of  good  wool, 
often  of  permanent  dyes,  and  of  a mod- 
erate price. 


r 


Oushak 


VI 


TURKOMAN  RUGS 


3.  Khiva  or  Afghan 

4.  Beluchistan. 


2.  Bokhara  or  Tekke. 

3.  Yomut. 


VI 


TURKOMAN  RUGS 

The  rugs  of  West-central  Asia,  or  Country  and 
Turkoman,  as  they  are  called,  include  Classlficatl0n 
not  only  those  of  the  Turkoman  tribes 
of  Russian  Turkestan  (the  Bokhara 
or  Tekke,  Khiva  or  Afghan,  and  Yo- 
mut  rugs)  but  all  made  in  Afghanis- 
tan except  the  Herat  rugs,  and  the 
Beluchistan  rugs.  By  some  those  made 
at  Samarkand  would  be  placed  in  this 
family,  but  they  are  really  Chinese 
rugs,  although  the  city  of  Samarkand 
is  in  Russian  Turkestan.  The  rugs  of 
Afghanistan  and  Beluchistan  find  their 
way  to  Western  markets  through  Bo- 
khara; and  as  they  have  some  of  the 
characteristics  of  the  Turkoman  fab- 
rics, perhaps  it  is  as  well  to  place  them 
among  the  Turkoman  rugs. 

1 8 1 


Country  and 
People 


How  to  Know  Oriental  Rugs 

BOKHARA  OR  TEKKE 

The  Bokhara,  or,  more  properly,  the 
Tekke  rugs,  are  made  by  the  Tekke 
Turkoman  tribes  who  inhabit  the 
country  extending  southwest  of  Bo- 
khara to  Afghanistan  and  Khorasan. 
These  tribes  of  nomad  Turkomans,  a 
branch  of  the  Turkish  race,  until  sub- 
dued by  the  Russians  under  General 
Skobeleff  in  1879,  their  stronghold 
taken,  and  thousands  of  their  numbers 
murdered,  were  turbulent,  restless  rob- 
bers, who,  fortifying  themselves  within 
their  rectangular-walled  forts,  made 
raids  for  plunder  and  slaves  upon 
all  the  surrounding  country,  especially 
upon  Persia.  But  to-day,  awed  by 
Russian  power,  they  seem  content  to 
give  up  the  life  of  the  border  plun- 
derer, to  peaceably  cultivate  the  soil, 
and  tend  their  flocks.  They  still  re- 
tain their  primitive  life  in  tents  of  felt 
182 


' ’ /'  w-' 

BOKHARA 


Loaned  by  Mr.  Joseph  F.  Langton,  St.  Paul,  Minn. 


Turkoman  Bugs 

hung  with  bright  carpets  and  with  a 
fire  in  the  center;  and  still  continue  to 
wear  the  same  striking  costumes  of 
white  cotton  and  colored  silk,  with 
large  brown  sheepskin  bonnets;  and 
still  retain  their  cruel,  untruthful,  but 
hospitable  natures. 

The  two  cities  for  distributing  their 
fabrics,  which  consist  of  silks,  velvets, 
embroidered  goods,  and  woolens,  as 
well  as  rugs,  are  Bokhara  and  Merv. 
“ Bokhara  the  Noble,”  as  it  is  called, 
a center  of  learning  and  commerce, 
has  one  hundred  thousand  people, 
mostly  Mohammedans.  Its  many 
mosques,  extensive  bazaars,  old  ruins, 
and  people  in  Oriental  dress  make  it 
one  of  the  most  interesting  of  Eastern 
cities.  Merv,  to  the  southeast,  on  the 
historic  Oxus  River,  is  the  center  of  the 
trade  routes  from  Bokhara  to  Eastern 
Persia  and  from  Central  Asia  through 
Afghanistan  to  India. 

183 


Cities 


How  to  Know  Oriental  Rugs 

The  Bokhara,  or  Tekke,  rugs,  woven 
entirely  by  women,  are  the  most  popu- 
lar of  all  the  rugs  of  the  Turkoman 
districts,  and  are  rightly  so,  for, 
strangely  in  contrast  to  the  people 
who  in  their  lives  have  nothing  of  re- 
finement, their  rugs  possess  unusual 
artistic  coloring,  a wonderful  depth  of 
color,  like  the  old  Dutch  portraits,  and 
a luster  or  bloom  rarely  seen. 

They  follow  a uniform  pattern,  with 
a variety  in  combination  of  colors,  so 
that  no  two  rugs  are  ever  exactly  alike, 
although  very  similar.  The  ground, 
always  a rich,  dark  red,  wine,  or  pink, 
with  octagonal  figures,  separated  by 
some  geometrical  device,  repeated  with 
great  regularity  over  the  entire  field, 
makes  the  Bokhara  rug  easy  of  recog- 
nition. The  pattern  within  each  oc- 
tagonal is  divided  into  four  parts,  with 
the  diagonal  sections  alike.  The  main 
border  usually  contains  the  same  de- 
184 


Turkoman  Rugs 

sign,  enclosed  in  smaller  borders  of 
an  intricate  fretwork.  These  are  fre- 
quently most  beautiful. 

The  colors — blue,  brown,  green,  Colors 
orange,  and  ivory,  in  the  designs  and 
borders — are  all  subordinated  to  the 
beautiful,  warm,  autumn  tints  of  the 
ground,  which  grow  richer  and  deep- 
er with  age.  This  characteristic  makes 
them  of  great  decorative  value  when 
warmth  of  color  is  desired.  The  per- 
manent vegetable  dyes  have  been  used 
until  Russia  gained  control,  when  ani- 
lin  dyes  were  introduced;  but  even  yet 
the  old  dyes  prevail. 

The  Bokhara,  like  all  Turkoman  Texture  and 
rugs,  are  of  looser,  softer  texture  than  Materlal 
most  Persian  rugs;  they  are  fine,  hav* 
ing  from  one  hundred  and  forty-four 
to  four  hundred  knots  to  the  square 
inch.  The  materials  are  always  good; 
the  warp  and  woof  are  of  wool,  and 
the  pile  of  soft  wool,  velvety  to  the 

185 


Finish  and 
Size 


Prayer-rug 


How  to  Know  Oriental  Bugs 

touch,  and  closely  clipped  or  some- 
times of  goats’  hair. 

The  sides  are  overcast  in  wool  the 
color  of  the  rug,  and  the  ends  finished 
in  a wide  web  of  the  same  color,  some- 
times striped  in  red  and  blue  and 
again  with  a dainty  pattern  in  color. 
Occasionally  there  is  a twisted  rope  at 
the  ends,  showing  that  the  rug  was  de- 
signed as  a hanging.  In  size  they 
range  from  two  by  three  to  eight  by 
eleven  feet,  and  sometimes  as  large  as 
twelve  by  eighteen  feet. 

The  prayer-rug,  in  rich  mahogany, 
of  Rembrandt  shades,  has  at  one  end 
the  usual  pointed  device.  The  center 
field,  covered  with  little  tree-shaped 
patterns,  is  divided  into  four  sections 
by  a large  cross,  with  geometrical  de- 
signs within.  The  widest  border  has 
larger  tree-forms  enclosed  in  a modi- 
fication of  the  swastika.  These  rugs 
are  nearly  square,  about  four  by  five 
1 86 


Turkoman  Rugs 

feet,  and  finished  like  the  larger  rugs. 

When  the  prayer-point  is  omitted, 
these  square  rugs,  with  the  “ Kchatch- 
li,”  or  cross,  are  designed  as  saddle- 
covers. 

Saddle-bags  are  made  in  great  num-  Saddle-bag 
bers,  with  the  octagonal  design  of  the 
family  on  a rich  color.  They  have 
long  fringe  on  three  sides. 

There  is  also  a khilim  made  at  Merv  Khilim 
which  resembles  the  Kurdish  embroid- 
ered khilim. 

Antique  Bokharas  are  of  great  value,  Antiques 
running  as  high  as  a thousand  dollars. 

Some,  which  have  had  long  use  as  tent 
portieres,  are  of  wonderful,  deep  tones, 
and  before  the  firelight  seem  to  possess 
a radiance  all  their  own. 

YOMUT 

West  of  the  Bokhara  rug  district,  Turkoman 
bordering  on  the  Caspian  Sea  and  Tnbe 
north  of  Khorasan,  are  nomad  tribes  of 

187 


Resembles 

Bokhara 


How  to  Know  Oriental  Rugs 

Turkomans  who  are  the  weavers  of  the 
Yomut  rug.  These  tribes  differ  but 
little  from  those  who  make  the  Bo- 
khara rugs,  but  are  not  friendly  to 
them. 

They  make  a rug  resembling  the 
Bokhara  in  color,  texture,  and  end  fin- 
ish, but  unlike  in  design,  although  at 
times  the  octagon  is  used.  They  have 
borrowed  color  from  the  Tekke  tribes 
at  the  east  and  designs  from  the  peo- 
ple beyond  the  Caspian  Sea,  so  that  the 
Yomut  rug  is  a composite.  The  field 
is  usually  a darker,  duller  red  than  the 
Bokhara,  more  of  a brownish  red,  and 
one  which  does  not  light  up  or  pos- 
sess the  sheen  of  the  Bokhara  proper. 
The  diamond,  with  “ latch  hook  ” or- 
namentation in  dark  blues  and  browns, 
is  a frequent  design;  and  when  the 
octagon  occurs  it  is  more  elongated 
than  in  the  Tekke  rugs.  The  borders 
have  geometrical  figures,  with  the 
1 88 


Turkoman  Rugs 

“ latch  hook  ” on  an  ivory  ground;  and 
the  narrow,  twisted,  or  “ barber-pole  ” 
stripe,  which  seems  to  have  originated 
with  the  Turkomans,  is  used  to  sepa- 
rate the  sections. 

In  texture  these  rugs  are  not  so  fine  Texture  and 
and  soft  or  velvety  as  the  Bokhara,  but  Flnlsh 
the  wool  and  dyes  are  good.  The  fin- 
ish is  the  same  as  the  Bokhara  at  the 
ends,  wide  web  and  fringe,  but  the 
sides  have  a double  selvage  in  two  col- 
ors arranged  in  checks,  and  a stripe  of 
wool  is  sometimes  woven  into  the  col- 
ored web  at  the  ends. 

They  are  not  as  artistic  a rug  as  the 
true  Bokhara,  but  are  of  refined  colors 
and  durable.  The  sizes  are  from  five 
by  eight  to  eight  by  eleven  feet. 

KHIVA  OR  AFGHAN 

The  country  of  the  Khiva  or  Afghan  Country 
rugs  is  that  part  of  Afghanistan  bor- 
dering on  Russian  Turkestan. 

189 


Compared 
with  Bokhara 


Colors 


Materials 
and  Size 


How  to  Know  Oriental  Rugs 

These  rugs  are  recognized  at  once  as 
belonging  to  the  Turkoman  family. 
They  resemble  the  Bokhara  in  design, 
but  are  a much  heavier,  larger  rug,  of 
coarser  weave,  larger  pattern,  longer 
pile,  deeper  coloring  and  more  blend- 
ing of  color,  and  with  a barbaric 
note  not  found  in  the  Tekke  rugs.  It 
is  a wonderful  thing  that  these  uncul- 
tivated peoples  can  produce  such  har- 
monious blending  of  striking  colors  as 
is  seen  in  their  fabrics.  Age  gives  to 
these  rugs  a beautiful  sheen,  a silky  ef- 
fect, and  a depth  and  richness  of  color 
unsurpassed. 

The  colors  in  the  patterns  are  blue, 
green,  brown,  yellow,  and  ivory,  on  a 
dark,  almost  blood-red  or  maroon  field, 
which  take  on  a rich  glow  in  the  fire- 
light. 

The  materials  are  of  the  best  wool, 
and  the  finish  the  same  as  the  Bokhara 
rugs.  They  are  in  sizes  from  five  by 
190 


Turkoman  Rugs 

eight  to  eight  by  eleven  feet,  and  rarely 
one  is  found  as  large  as  nine  by  twelve 
feet.  They  make  saddle-bags,  too. 

The  Khiva  rug  is  adapted  to  libra- 
ries, entrance-halls,  living-rooms,  and 
wherever  warm,  rich  tones  are  desired. 

Besides  the  Khiva  and  the  Herat  Other  Rugs 
rugs,  which  we  have  classified  as  Per- 
sian, the  wild  tribes  to  the  southeast 
make  a rug  allied  to  the  Persian  in  de- 
sign, but  with  the  texture  of  the  Khiva. 

These  people,  living  in  the  wild  moun- 
tain districts  of  Afghanistan,  many  of 
them  brigands  and  outlaws,  with  an  in- 
stinct for  independence,  put  much  of 
their  natures  into  their  woven  fabrics, 
and  so  give  us  rugs  of  barbaric  splen- 
dor in  color  and  of  heavy  texture, 
which  are  most  attractive. 


191 


How  to  Know  Oriental  Bugs 


Country  and 
People 


BELUCHISTAN 

The  country  of  the  Beluchistan  rugs, 
including  a large  district,  partly  un- 
der Persian  rule  and  partly  under  the 
protection  of  India,  extends  from  Kir- 
man  to  India  and  from  Afghanistan  to 
the  sea.  It  is  an  undeveloped  country, 
with  great  diversity  of  surface  and 
vegetation  — with  jungles  of  acacia, 
mimosa,  and  tamarisk  in  the  south, 
with  plains  and  mountains  farther 
north,  where  many  date-palms  grow 
and  where  abundant  pasturage  is 
found  for  flocks  of  goats  and  the  dark- 
wooled  sheep.  This  country,  which 
has  been  the  highway  from  Persia  to 
India  for  ages,  is  inhabited  by  a pas- 
toral people,  whose  villages  are  sim- 
ply groups  of  huts  made  of  palm-leaves 
and  mud  or  of  sun-dried  bricks,  and  by 
numerous  nomad  tribes  of  primitive 
habits. 

192 


Turkoman  Rugs 

The  rugs  of  this  district,  sometimes  Character- 
wrongly  called  “ Blue  Bokhara,”  fromisticsof  Rugs 
their  resemblance  in  design  to  Bokhara 
rugs  and  from  the  bluish  sheen  which 
many  of  them  take  on,  have  some  very 
distinguishing  characteristics.  They 
are  always  small,  from  two  and  one- 
half  by  three  and  one-half  to  five  by 
seven  feet,  with  occasionally  one  seven 
by  eleven  feet.  They  have  rich,  sub- 
dued tones  of  rich  red,  camels’  hair,  or 
deep  blue,  which  in  some  lights  is  al- 
most a black,  for  the  field,  upon  which 
are  geometrical  figures  of  various  col- 
ors— maroon,  brown,  soft  blue,  ivory, 
red,  or  green,  and  over  all  this  a won- 
derful sheen,  like  the  blue  of  distant 
hills.  Occasionally  the  designs  are  in 
stiff,  floral  patterns,  or  in  stripes,  or  in 
a checked,  mosaic  pattern.  The  mih - 
rab  is  usually  square  in  the  prayer-rug, 
and  the  “latch  hook”  and  Vandykes 
are  used  in  the  borders  with  geomet- 
rical figures, 
is 


193 


Material  and 
Texture 


How  to  Know  Oriental  Rugs 

Both  warp  and  woof  of  these  rugs 
are  of  wool,  and  the  pile  of  finest  wool 
or  goats’  hair,  which  gives  a soft,  silky 
texture.  The  natural  wool  is  dark,  and 
takes  on  an  unusual  richness  when 
dyed.  No  other  rugs  have  this  pecul- 
iar blue  cast,  and  so  they  are  much  de- 
sired. They  make  a most  attractive 
hearth-rug,  for  the  firelight  seems  to 
heighten  this  feature.  They  are  loose- 
ly woven,  making  a pliable  rug.  The 
wide,  striped  selvage  at  the  ends,  like 
the  Tekke  rugs,  is  found  here,  often 
worked  in  exquisite  patterns,  and  the 
sides  are  either  selvaged  or  overcast. 


194 


VII 


INDIA  RUGS 


VII 


INDIA  RUGS 

INDIA,  stretching  from  the  Hima- 
laya Mountains  southward  into  the 
Indian  Ocean,  is  a remarkable  coun- 
try both  in  its  natural  resources  and 
in  its  development.  Bounded  on  the 
north  by  the  highest  range  of  moun- 
tains in  the  world,  and  separated  from 
other  countries  by  the  Indus  and 
Bramaputra  Rivers,  here,  apart  from 
other  peoples,  the  early  Aryans,  after 
making  subject  a native  race,  devel- 
oped on  the  banks  of  their  great  rivers 
a most  splendid  civilization.  There  is 
something  very  fascinating  about  them, 
their  history,  literature,  religion,  and 
arts;  and  with  a knowledge  of  these  we 
can  better  appreciate  the  present  con- 
ditions. 


Country 


197 


Three 

Periods 


Homes 
Simply  Fur- 
nished 


How  to  Know  Oriental  Rugs 

We  may  divide  their  history  into 
three  periods,  according  to  Hindu, 
Mohammedan,  or  English  supremacy. 
The  Hindu,  with  his  subtle  intellect; 
the  Mohammedan,  with  his  chief 
thought  his  religion,  to  which  at  one 
time  he  made  subservient  all  the  arts; 
the  Englishman,  with  his  commercial- 
ism, has  each  had  his  share  in  shaping 
the  destinies  of  this  people.  It  is  with 
the  last  two  periods  that  carpet-weav- 
ing is  connected. 

This  land  of  diverse  races  and  peo- 
ples, differing  so  widely  in  their  mode 
of  life  that  they  have  little  in  common, 
yet  agree  in  furnishing  their  homes 
most  simply.  For  it  has  been  said 
“that  in  India  the  great  art  in  fur- 
niture is  to  do  without  it.”  Mr.  Bird- 
wood  writes:  “You  may  pass  through 
a whole  palace  and  the  only  furniture 
in  it  will  be  rugs  and  pillows,  and,  of 
course,  the  cooking  pots  and  pans,  and 
198 


India  Rugs 

gold  and  silver  vessels  for  eating  and 
drinking,  and  wardrobes  and  caskets 
and  graven  images  of  the  gods.  But 
you  are  simply  entranced  by  the  per- 
fect proportions  of  the  rooms,  the  pol- 
ish of  the  ivory-white  walls,  the  gay 
fresco  round  the  dado,  and  the  beauti- 
ful shapes  of  the  niches  in  the  walls, 
and  of  the  windows,  and  by  the  rich- 
ness and  vigor  of  the  carved  work  of 
the  doors  and  the  projecting  beams  and 
pillars  of  the  veranda.”  This  people 
seem  filled  with  a true  art  spirit,  and 
everything  they  touch  shows  a magic 
hand. 

There  is  an  old  Hindu  saying  “that 
the  first,  the  best,  and  the  most  perfect 
of  instruments  is  the  human  hand”; 
and  when  we  read  of  the  beautifully 
carved  temples,  the  inlaid  work,  the 
gold  and  silver  plate,  the  enamels,  the 
jewelry,  the  pottery,  the  fabrics — espe- 
cially shawls,  muslins,  and  rugs,  which 

199 


Handicrafts 
of  India 


How  to  Know  Oriental  Rugs 

have  been  brought  to  such  perfection 
in  far-off  India — we  can  but  believe 
that  they  have  been  and  are  a race  of 
cunning  craftsmen.  Mr.  W.  S.  Lilly,  in 
his  India  and  Its  Problems,  writes: 
“It  may  be  truly  said  that  the  artistic 
spirit  displayed  in  the  architecture  of 
their  temples  permeates  the  life  of  the 
people.  From  the  earliest  times  they 
have  been  famous  through  the  world 
for  their  skill  in  the  production  of  deli- 
cate woven  fabrics,  in  the  blending  of 
colors,  in  the  working  of  metals  and 
precious  stones;  everything  that  comes 
from  the  hands  of  their  artisans  down 
to  the  cheapest  toy  or  earthen  vessel  is  a 
work  of  art.”  And  Sir  George  Bird- 
wood,  who  is  an  authority  on  this  sub- 
ject, says  in  his  Industrial  Arts  of 
India:  “ Every  house  in  India  is  like- 
wise a nursery  of  the  beautiful.  . . . 
There  is  a universally  diffused  popular 
appreciation  of  technical  skill  and  taste 
200 


India  Rugs 

in  workmanship  which  must  necessarily 
have  had  its  effect  in  promoting  the 
unrivaled  excellence  of  the  historic  art 
handicrafts  of  India.” 

Little  is  known  of  Indian  art  until 
after  the  Mohammedan  invasion  about 
1000  A.  D.  As  the  invaders  used  rugs 
to  kneel  upon  in  their  religious  devo- 
tions and  to  ornament  their  mosques, 
they  doubtless  brought  them  into  In- 
dia. It  is  possible  that  cotton  car- 
pets were  indigenous  to  India.  But 
the  great  era  of  carpet-weaving 
was  in  the  sixteenth  century  and  con- 
tinued down  to  the  middle  of  the 
nineteenth.  The  great  Mogul,  Akbar, 
who  was  contemporary  with  Queen 
Elizabeth  in  England,  brought  carpet 
weavers  from  Persia  to  work  at  the 
looms  in  the  royal  palace  at  Lahore, 
and  under  his  direction,  as  under  Shah 
Abbas’s  in  Persia,  the  art  side  of  the  in- 
dustry was  developed.  For  it  is  said 


Rugs 

Brought  by- 
Moslems 


201 


How  to  Know  Oriental  Rugs 

that  he  had  a personal  supervision  of 
all  work  done  in  the  palace,  and  that 
he  was  not  unfamiliar  with  all  proc- 
esses. This  made  possible  a high 
grade  of  work.  And  so  from  Lahore 
the  industry  spread  throughout  India. 
Antiques  It  is  thought  by  some  that  the  pro- 
ductions of  these  looms  are  still  in  ex- 
istence, and  that  they  resemble  very 
closely  the  old  Ispahan  carpets.  In 
the  museum  at  Jeypore  are  carpets  of 
very  early  date,  said  to  be  manu- 
factured at  Lahore,  and  to  resemble 
the  sixteenth-century  Persian  work. 

Effect  of  Vil-  The  village  system  of  grouping  into 
o^CarpeN  one  workers  in  one  industry 

Weaving  helped  to  preserve  the  handicrafts  of 
India,  and  so  the  art  of  carpet-weaving. 
It  has  been  said:  “The  Code  of  Manu 
has  secured  in  the  village  system  of 
India  a permanent  endowment  of  the 
class  of  hereditary  artisans  and  art 
workmen,  who  of  themselves  consti- 
202 


India  Rugs 

lute  a vast  population;  and  the  mere 
touch  of  their  fingers,  trained  for  three 
thousand  years  to  the  same  manipula- 
tion, is  sufficient  to  transform  whatever 
foreign  work  is  placed  for  imitation  in 
their  hands  into  something  ‘rich  and 
strange’  and  characteristically  Indian.” 
And  so,  although  the  designs  of  car- 
pets introduced  by  Akbar  were  Persian 
and  the  fabrics  from  the  Mogul’s  pal- 
ace really  Persian  fabrics,  yet,  as  the 
years  went  by,  the  true  Hindu  feeling 
crept  in  and  a true  Indian  carpet  was 
the  result.  Especially  in  the  south,  in 
Tanjore,  the  floral  designs  entirely  dis- 
appeared and  geometrical  patterns,  re- 
sembling the  Turkoman,  but  with  the 
Hindu  spirit,  took  their  place.  This 
is  but  an  illustration  of  what  has  been 
said  of  the  Hindu  as  a race : “That  they 
adapt  and  assimilate  easily  and  express 
as  Indian  whatever  comes  within  their 
touch.” 


203 


Love  of 
Color 


Dyes 


Materials 


How  to  Know  Oriental  Rugs 

The  Hindu  is  a true  Oriental  in  his 
love  of  color,  but  in  carpets  his  choice 
is  in  rich  colors,  not  glaring  and  gaudy, 
with  tints  well  blended,  making  a fabric 
admirably  adapted  to  rest  the  eye  when 
out  of  the  glare  of  the  sun. 

Dyeing  was  a special  gift  in  India 
carried  on  by  women,  while  the  weav- 
ing is  done  by  men  and  boys.  Indigo, 
from  which  the  finest  blue  is  obtained, 
is  indigenous  and  produced  in  great 
quantities,  and  her  beautiful  lac  dyes 
formerly  gave  employment  to  thou- 
sands before  the  introduction  of  anilin 
dyes. 

Wool  can  not  be  raised  in  all  parts 
of  India,  as  the  climate  is  not  favor- 
able. The  mountain  districts  in  the 
north  and  the  plains  of  Tibet  furnish 
the  best  wool,  as  well  as  “pushmina”  or 
shawl  wool,  the  down  growing  next  the 
skin  and  under  the  hair  of  the  goats 
of  Tibet.  Punjab  and  the  Northwest 
204 


India  Rugs 

Province  furnish  some  wool,  but  India 
imports  much.  Cotton,  which  is  so 
largely  used  in  making  the  blue  and 
white  striped  rugs  for  native  use  and 
as  the  warp  and  woof  of  the  woolen 
carpets,  grows  in  great  abundance,  and 
silk  and  hemp  are  of  native  production. 

The  characteristics  of  the  old  fabrics  Character- 
were  the  natural  beauty  of  the  dyes, 
the  taste  and  skill  exercised  in  the  har- 
monious arrangement  of  colors,  the 
simplicity  of  decorative  details,  and 
the  avoiding  of  extreme  contrasts  by 
outlining  in  black  the  details  of  de- 
sign. 

The  designs  of  these  carpets  varied  Designs  Vary 
with  the  districts  and  the  peculiar  in- 
fluences surrounding.  In  the  north, 
floral  designs  were  used  in  imitation  of 
the  Persian,  with  more  boldness  and 
dash,  with  more  plain  surface  and  less 
delicate  tracery,  and  with  more  sym- 
metry and  balance.  In  the  south,  geo- 

205 


Seats  of  Old 
Industry- 


Carpets 
Made  in 
Royal 
Palaces 


Tanjore 

Rugs 


How  to  Know  Oriental  Bugs 

metrical  designs  were  in  general  use  to 
the  exclusion  of  the  floral. 

The  principal  seats  of  the  old  indus- 
try were  Lahore,  Multan,  Mirzapoor, 
Allahabad,  Benares,  Hyderabad,  Wa- 
rangal,  Masulipatam,  Malabar,  and 
Tanjore. 

Following  the  example  of  the  Em- 
peror at  Lahore  in  placing  the  manu- 
facture of  rugs  in  the  royal  palace, 
other  princes  brought  the  art  of  carpet- 
making to  a high  standard. 

At  Tanjore,  one  of  the  centers  of  the 
Hindu  religion,  the  rugs  are  said  to 
have  been  made  with  designs  character- 
istically Indian,  to  be  especially  fitted 
for  the  durbar  display  or  for  the  halls 
and  tents  of  native  princes.  With  me- 
dallions of  enormous  size,  sometimes 
measuring  eight  feet  across,  filled  with 
unique  designs  in  gorgeous  colors — 
greens,  blues,  crimsons,  and  yellows,  so 
harmoniously  arranged  as  to  give  the 
206 


India  Rugs 

effect  of  a rich  fabric  without  crudeness 
—with  a border  from  two  to  six  feet 
wide,  a rug  from  this  district  possessed 
a beauty  of  its  own  unlike  any  other 
made. 

The  silk  carpets  of  Tanjore,  Wa- 
rangal,  Masulipatam,  and  Benares  are 
said  to  have  rivaled  in  texture  and  col- 
oring the  finest  Persian.  Sometimes 
the  pile  was  left  long,  so  that  the  wave 
of  color  gave  the  effect  of  the  plumage 
of  a bird.  It  is  the  loss  of  native 
fabrics  like  these  which  is  so  much  re- 
gretted. 

In  1851  an  exhibition  of  Indian  tex-  Exhibition  in 
tiles  was  held  in  London,  and  carpets  Lo”g^ln 
gathered  from  all  parts  of  India  were 
shown.  At  that  time  the  industry  was 
practised  in  its  original  purity  through- 
out India;  and  it  is  of  these  carpets 
that  Mr.  Robinson  and  Mr.  Birdwood 
speak  in  their  descriptions  of  the  vari- 
ous varieties.  But  since  that  time  the 

207 


How  to  Know  Oriental  Rugs 

native  work  has  deteriorated,  due  to 
various  causes : the  demand  in  England 
for  cheaper  rugs,  the  introduction  of 
carpet-weaving  in  Government  jails, 
thereby  making  competition  so  strong 
that  the  native  weaver  is  crowded  out, 
and  the  introduction  of  foreign  designs 
and  anilin  dyes.  So  that  a true  Indian 
carpet  is  seldom  met  with  except  in  the 
cotton  rugs  which  are  universally  used 
throughout  India.  But  private  firms, 
English  and  American,  are  directing 
carpet-making,  and  while  their  prod- 
ucts are  not  an  expression  of  the  Hindu 
spirit,  yet  they  have  merit  in  that  they 
are  genuine  in  dyes  and  material,  that 
they  can  be  ordered  of  any  size,  pattern, 
or  coloring,  and  that  the  workmanship 
is  good.  When  all  these  qualities  are 
combined  in  one  rug,  as  they  many 
times  are,  the  result  is  a fabric  far  more 
artistic  than  any  machine-made  rug, 
though  not  equal  to  many  Persian  rugs, 
208 


India  Rugs 

for  the  individual  expression  is  lack- 
ing. 

The  best  jail-made  carpets  are  manu- 
factured at  Agra;  and  while  the  au- 
thorities aim  to  use  good  dyes  and  old 
designs,  the  subtle  and  art  qualities  of 
an  Oriental  rug  are  not  produced  by 
this  kind  of  workmen.  In  many  dis- 
tricts the  native  industry  of  rug-weav- 
ing has  disappeared  in  the  face  of  this 
rival — the  Government  jail.  These 
carpets  are  prohibited  by  law  from  the 
American  market. 

The  desertion  of  the  native  patterns 
for  those  of  English  importation  has 
been  a misfortune  to  the  carpet  in- 
dustry. And  in  all  industries  where 
European  designs  have  been  followed 
the  results  have  been  unsatisfactory, 
as,  for  example,  the  cashmere  shawls, 
which,  when  made  after  French  pat- 
terns, lost  their  “ peculiar  loveliness.” 
We  agree  with  Sir  Richard  Temple 
14  209 


Jail  Carpets 


Foreign 
Designs  a 
Detriment 


Modern  Rug 
not  a Native 
Product 


How  to  Know  Oriental  Rugs 

in  his  India  in  1880,  when  he  says: 
“ We  ought  to  recognize  the  indige- 
nous arts  of  India  when  produced  by 
hereditary  artists  with  designs  origi- 
nating in  nature  and  worked  out  with 
tact  and  skill. ” 

MODERN  INDIA  RUGS 

The  modern  India  rugs  brought  to 
this  country  are  made  by  firms  which 
control  the  industry  in  India.  While 
made  by  native  boys  and  men,  often  un- 
der the  immediate  direction  of  native 
princes,  or  other  men,  they  can  hardly 
be  said  to  be  a really  native  product, 
for  the  designs,  materials,  and  dyes  are 
furnished  them  and  they  simply  do  the 
mechanical  work,  but  with  such  deft- 
ness and  skill  that  the  result  is  a good 
article.  Let  me  quote  from  Eliza  R. 
Scidmore’s  Winter  India;  speaking  of 
the  work  at  Amritsar,  where  some  of 
the  best  results  are  obtained,  she  says: 


210 


India  Bugs 

“At  the  large  carpet  factory  ninety- 
seven  looms  were  strung  with  cotton 
warp,  and  little  Kashmiri  boys  sit- 
ting elbow  to  elbow  before  them 
tied  in  the  woolen  threads,  cut  them 
with  miniature  scythes,  and  pressed 
down  the  stitches  with  wooden  combs. 
A spectacled  old  Kashmiri,  seated  be- 
hind each  curtain  of  warp  threads, 
read  off  the  directions  for  the  pat- 
tern from  pages  of  Kashmiri  cipher, 
all  understanding  and  following  this 
ancient,  conventional  cipher  by  in- 
herited association  more  easily  than 
any  of  the  clear,  mechanical  direc- 
tions devised  and  used  by  the  managers 
of  jail  carpet-works.  Four  small  boys, 
with  one  old  man  to  read  the  pattern  to 
them,  will  make  a fine,  close,  velvet- 
pile  carpet,  measuring  eleven  by  thir- 
teen feet,  in  two  months  and  a half — a 
carpet  worth  twenty-five  dollars  gold 
at  Amritsar.  The  design  is  chosen,  the 


2 1 1 


How  to  Know  Oriental  Rugs 

materials  allotted,  and  the  contract  let 
to  the  reader,  who  pays  each  boy  three 
or  four  rupees  a month.  Conventional 
old  Turkish  and  Persian  designs  are 
followed.  They  are  first  drawn  in  col- 
ors, traced  on  scaled  paper,  graded  to 
the  number  of  warp  threads,  and  the 
pattern  written  in  Kashmir  cipher. 
The  small  boys  work  mechanically, 
tying  on  two,  four,  or  twenty  stitches, 
as  the  reader  calls  to  them,  paying  little 
heed  to  what  is  growing  under  their 
fingers,  whether  scroll,  leaf,  or  stripe. 
‘Two  pink,  three  green,  one  red,’ 
chant  the  boys  in  monotones  after  the 
reader.  The  reader  watches  the  pat- 
tern grow,  and,  detecting  a false  stitch, 
raps  the  offender  with  the  stick  he  holds 
for  the  purpose.  The  carpets  are  val- 
ued both  for  the  fineness  of  the  stitches 
and  the  quality  of  the  wool.  . . . Each 
loom  was  a genre  picture  and  a color 
study,  with  the  spectacled  Kashmiri  in 
212 


India  Rugs 

sober  turban  and  jacket  on  one  side  and 
on  the  other  the  row  of  long-lashed 
boys  in  brilliant  garments  elbowing 
and  shoving  one  another  and  tittering 
together,  quite  as  all  children  behave 
in  the  presence  of  school  visitors.” 

This  is  probably  a typical  picture  of 
rug-making  as  it  exists  to-day  in  India. 

There  is  no  opportunity  for  spontaneity 
or  originality  of  design,  no  chance  for 
the  subtle  Hindu  thought  or  feeling  to 
creep  in. 

Many  of  the  firms  are  copying  old  Designs 
Persian  rugs,  especially  the  Herati  and 
Guli  henna  patterns,  and  the  medal- 
lion center  on  a plain  ground  with  cor- 
ners to  match.  The  palm  design  and 
the  stiff  cypress-tree  are  used,  as  well 
as  scrolls,  and  in  as  great  a variety  as 
can  be  imagined.  If  you  wish  a de- 
sign of  your  own  and  are  willing  to 
wait  and  to  pay  for  it,  you  can  have 
your  heart’s  desire. 


213 


Colors 


Dyes 


Texture 


Material 


Districts 


How  to  Know  Oriental  Rugs 

The  modern  rugs  have  departed 
from  the  old  Hindu  thought  of  rich 
tones  only,  and  all  colors  and  shades  are 
used  to  suit  the  fancy  of  the  maker. 

Reliable  firms  see  to  it  that  the  dyes 
are  vegetable  and  permanent  and  that 
the  wool  is  of  good  quality;  so  the  way 
to  get  a good  article  is  to  deal  with 
the  right  people. 

The  texture  of  Indian  rugs  varies: 
some  are  very  fine,  having  as  many  as 
four  hundred  stitches  to  the  square 
inch,  and  others  much  coarser.  They 
are  closely  woven  and  are  the  heaviest 
rug  made. 

Like  most  Persian  rugs,  they  have  a 
cotton  warp  and  woof.  The  ends  are 
finished  with  a fringe  and  the  sides  are 
overcast  with  the  prevailing  color  of 
the  rug.  They  are  made  in  all  sizes, 
from  mats  to  the  largest  carpets. 

There  are  four  districts  where  rugs 
are  made  in  large  quantities:  Punjab, 
214 


India  Rugs 

Northwest  Province,  Cashmere,  and 
Madras  Presidency;  of  these  the  Pun- 
jab produces  the  best  carpets.  The 
name  is  given  by  the  firm  importing  or 
manufacturing.  Amritsar,  Candahar, 
Bijapur,  Punjab,  Lahore,  Mirzapoor, 
Cawnpore,  Ardahan,  are  a few  of  the 
varieties. 

Mr.  Ruskin,  speaking  of  the  English 
influence  on  carpet-making  in  India, 
and  the  same  is  partly  true  of  Ameri- 
can influence,  says:  “Modern  commer- 
cialism has  laid  its  poisonous  trade 
upon  this  useful  industry  since  the  days 
when  I was  a young  man,  and  to-day  it 
is  almost  ruined  as  an  art.”  If  a na- 
tion can  not  survive  the  loss  of  its  re- 
ligion, can  this  industry  survive  the 
loss  of  its  ideals? 


215 


Effect  of 
Commercial- 
ism 


. 


VIII 


CHINESE  RUGS 


I.  Peking, 
a.  Tientsin. 


3.  Ning-hsai. 

4.  Eastern  Turkestan. 

5.  Samarkand. 


VIII 


CHINESE  RUGS 

Ever  since  Marco  Polo’s  time,  China, 
“the  long-lived  empire,”  has  been  more 
and  more  of  interest  to  the  outside 
world.  This  country,  whose  glories  lie 
mostly  in  the  past,  is  the  home  of  the 
oldest,  continuing  nation,  dating  back 
in  its  history  to  2852  B.  C.  The  empire, 
the  largest  in  the  world,  includes  China 
Proper,  Mongolia,  Tibet,  and  Eastern 
Turkestan. 

Her  people,  mostly  engaged  in  man- 
ual labor,  are  skilled  in  many  handi- 
crafts. The  manufacture  of  silk,  por- 
celain, and  lacquered  ware  originated 
with  them,  and  their  cloissonne , pot- 
tery, carved  ivory,  embroidery,  and 

219 


Country 


People 


How  to  Know  Oriental  Bugs 

rugs  are  the  admiration  of  the  world. 
Wisdom  is  said  to  lodge  in  the  hand  of 
the  Chinese,  and  we  believe  it  when  we 
see  the  delicate  work  of  their  hands. 
Every  art  object  is  the  work  of  one 
artist  in  design  and  execution. 

Homes  As  a people,  they  have  no  old  or 
great  buildings,  no  monuments  except 
the  Great  Wall  of  China.  The  homes 
of  the  poor  and  middle  classes,  with 
their  earth  floors  covered  with  matting, 
have  no  comforts;  and  the  houses  of 
the  rich,  with  marble  tiles  or  glazed 
brick  floors  sometimes  spread  with 
rugs  of  exquisite  coloring  and  work- 
manship, are  neither  beautiful  in  de- 
sign nor  elegant,  although  they  possess 
rich,  carved  ornaments  and  many  art 
treasures. 

Rugs  Rugs  have  long  been  made  in  China, 
where  they  are  masters  of  the  art,  for 
there  is  the  record  of  a beautiful  white 
silk  Chinese  carpet  which  covered  the 


220 


Chinese  Rugs 

shrine  of  the  Kaaba  at  Mecca  long  be- 
fore Mohammed’s  time,  and  to-day 
some  few  of  surpassing  excellence  from 
the  Chinese  palaces  reach  this  country. 

Their  carpets  are  unique  and  un- 
usual, without  the  grotesque  figures 
which  occur  in  many  of  their  art  fab- 
rics. They  are  original  in  design,  and 
less  influenced  by  modern  ideas  than 
many  rugs.  The  trellis,  or  fretwork, 
is  a common  background  on  which  are 
arranged  disks,  circles,  octagons,  fig- 
ures of  dragons,  bats,  butterflies,  and 
other  animals,  as  well  as  the  lotus  and 
a few  other  floral  patterns.  The  Greek 
border,  supposed  to  be  derived  from 
the  old  emblem  of  happiness,  the  swas- 
tika, and  the  cloud  band,  which  is 
thought  to  be  the  snake  emblem  of  In- 
dia, are  much  used. 

In  addition  to  originality  of  de- 
signs, the  colors,  especially  in  the  old 
carpets,  are  soft,  pleasing,  and  well 


Designs 


Colors 


22  1 


Symbolism 


Materials 


How  to  Know  Oriental  Rugs 

balanced.  Golden  and  tawny  yellows, 
fawn  shades,  old  blue  and  a turquoise, 
and  red  are  favorite  colors.  As  the 
Emperor  puts  on  robes  of  blue  when  he 
worships  the  heavens  in  reference  to 
the  sky,  yellow  for  the  earth,  red  for 
the  sun,  and  white  for  the  moon,  so  the 
use  of  these  colors  in  their  rugs  are 
likewise  suggestive. 

Mr.  Wells  Williams,  in  The  Mid- 
dle Kingdom,  says  that  “ a rug  often 
tells  a story,”  and  he  believes  that 
their  use  of  animal  figures  is  sym- 
bolical. “ The  bat  represents  hap- 
piness, and  when  five  are  used  the 
five  happinesses  — riches,  longevity, 
sound  body,  love  of  virtue,  and  peace- 
ful end.”  The  dragon,  which  is 
their  national  emblem,  symbolizes  sov- 
ereignty; the  tortoise,  immortality;  and 
the  deer,  honor  and  success. 

The  finest  rugs,  soft  in  texture  and 
lustrous,  are  of  Tibetan  wool  or  silk, 
222 


PEKINC 


Loaned  by  A.  A.  Vantine  & Co.,  New  York  City 


Chinese  Bugs 

and  others  are  made  of  coarser  wool 
from  Mongolia  or  from  camel’s  hair. 

Formerly  only  permanent  colors  were 
known,  but  anilin  dyes  are  fast  taking 
their  place. 

The  rug  districts  are  Peking,  Tien-  Districts 
tsin,  Ning-hsai,  in  the  northern  part  of 
China  Proper,  in  Tibet  and  Mon- 
golia, in  the  cities — Khotan,  Yarkand, 
and  Kashgar — in  Eastern  Turkestan, 
and  in  Samarkand  of  Russian  Turkes- 
tan. The  Peking,  Tientsin,  and  Sa- 
markand are  the  only  varieties  known 
in  this  country. 

PEKING 

In  the  Chinese  city  of  Peking,  which  Chinese  City 
is  the  outermost  of  the  four  cencentric 
cities — including  the  Chinese,  the  Tar- 
tar, the  Yellow  or  Imperial,  and  the 
Purple  Forbidden  City — is  manufac- 
tured one  of  the  best  grades  of  Chinese 
rugs. 


223 


Antique 

Rugs 


Designs 


How  to  Know  Oriental  Rugs 

The  antique  rugs  of  this  make  pos- 
sess many  art  qualities.  They  are  soft 
in  texture,  of  good,  lustrous  wool,  silk, 
or  camel’s  hair,  and  have  the  usual 
characteristic  Chinese  designs  — the 
conventional  fret  pattern,  the  bats  and 
butterflies  of  longevity,  dragons  sur- 
rounded by  cloud  bands,  disks,  and 
lotus  blossoms.  One,  in  a private  col- 
lection in  New  York  city,  is  of  glori- 
ous, golden,  sunset  color,  with  its  fret- 
work pattern  of  the  field  imperceptible 
only  when  the  shades  of  golden-dyed 
wool  are  in  certain  lights,  and  the 
Greek  border  encircling  it  in  clear  out- 
line. A similar  one  has  exquisite 
fawn  shades.  Such  wonderful  art 
treasures  are  rare,  and  are  only  to  be 
found  in  the  Celestial  palaces.  One 
sometimes  sees  a rug  of  tawny  yellow 
on  which  are  scattered  disks  with  drag- 
ons and  cloud  bands;  or  on  a deep 
blue  or  Chinese  red  is  a fretwork  in 


224 


Chinese  Rugs 

shades  of  tan;  or  scattered  over  a plain 
field  are  bats  or  other  animals.  The 
borders  usually  have  the  Greek  mean- 
der with  disks  or  lotus  blossoms.  These 
rugs  come  in  small  squares,  made  for 
pillows,  in  medium  and  carpet  sizes, 
and  sometimes  circular. 

The  modern  carpets  retain  the  old  Modem 
designs,  but  combine  them  with  scrolls,  Rugs 
flowers,  and  leaves,  which  rob  them  of 
their  Chinese  spirit;  and  here,  too,  the 
use  of  anilin  dyes  is  slowly  and  artfully 
taking  the  place  of  the  old  permanent 
ones. 

TIENTSIN 

The  rugs  known  as  Tientsin,  made  at  Compared 
the  port  of  Peking,  are  of  coarse  wool  wltR^ln8 
or  camel’s  hair,  of  long,  thick  nap, 
close,  firm  weave,  with  none  of  the  ar- 
tistic coloring  or  luster  of  the  antique 
carpets  of  Peking.  But  few  colors — 
two  shades  of  blue,  black,  brown,  and 
15  225 


Design 


How  to  Know  Oriental  Bugs 

white — have  been  used  until  very  re- 
cent times. 

On  a white  field,  Chinese  geomet- 
rical and  conventional  patterns,  with 
various  modifications  of  the  swastika 
and  a border  of  the  Greek  fret,  have 
been  the  usual  scheme  of  design;  but 
the  weavers  are  exchanging  the  old  pat- 
terns for  large  roses  in  reds,  greens,  and 
the  whole  range  of  colors  in  the  anilin 
dyes;  and  with  the  deterioration  in  de- 
signs and  colors  the  texture  has  also 
changed  for  the  worse.  So  that  the 
latest  rug  has  none  of  the  sturdy  and 
genuine  qualities  of  earlier  days,  for 
which  the  corrupting  influence  of  for- 
eign trade  is  responsible. 

NING-HSAI 

Ning-hsai,  on  the  upper  Whang-Ho, 
near  to  the  border  of  Mongolia,  has 
been  famous  for  centuries  for  its  wool 
carpets.  On  their  rude  vertical  looms 
226 


Chinese  Rugs 

the  men  and  women,  with  no  pattern 
before  them,  tie  in  the  colored  wools  of 
their  own  dyeing,  making  a carpet 
with  the  usual  Chinese  designs.  As 
this  is  the  home  of  the  old  Chinese  na- 
tion, doubtless  carpet-weaving  in  China 
originated  here.  They  make  them  for 
use  as  pillows,  saddle-covers,  and  to 
spread  on  the  floors  of  tents.  Many 
are  sold  to  the  Mongolians,  and  some 
find  their  way  to  Tibet. 

CHINESE  TURKESTAN 

The  country  of  Chinese  Turkestan, 
surrounded  as  it  is  on  the  north,  west, 
and  south  by  high  mountains,  has  re- 
ceived little  influence  in  its  primi- 
tive civilization  except  from  China. 
Marco  Polo  tells  how  the  people  in 
this  country  lived  by  trade  and  handi- 
crafts, among  which  were  the  polish- 
ing of  jade  and  the  weaving  of  rugs. 

15*  2 2 7 


Country 


Khotan 


Yarkand 


Kashgar 


How  to  Know  Oriental  Rugs 

And  to-day,  in  the  vicinity  of  Khotan, 
Yarkand,  and  Kashgar,  rugs  are  made 
whose  prevailing  note  is  Chinese, 
though  some  of  the  floral  patterns  may 
have  found  their  way  from  Persia. 

Bayard  Taylor,  in  his  Travels, 
speaks  of  the  beautiful  Khotan  car- 
pets which  were  spread  on  divans 
in  the  “royal  rest”  rooms  near  Yar- 
kand, and  of  the  fine  trappings  of 
their  horses. 

At  Yarkand,  which  is  the  chief  city 
and  the  home  of  the  military  officials, 
rugs  of  a pronounced  Chinese  type  are 
woven.  The  designs  are  disks,  medal- 
lions, and  stiff  tree  forms,  the  latter  of 
which  sometimes  cover  the  entire  sur- 
face. In  color  and  texture  they  have 
something  of  the  barbaric  note  of  the 
rugs  of  eastern  Afghanistan. 

And  at  Kashgar,  which  is  the  center 
of  a great  caravan  trade,  and  one  of  the 
richest  markets  of  central  Asia,  a car- 
228 


Chinese  Rugs 

pet  of  coarse  wool  with  glossy  surface 
and  bright  colors  is  used  by  the  natives 
in  their  tents  and  for  saddle-covers 
and  saddle-bags. 

SAMARKAND 

More  than  a hundred  miles  east  of  City 
Bokhara  and  still  in  Russian  territory, 
on  a branch  of  the  Oxus  River,  is  Sa- 
markand, once  famed  for  its  learning, 
and  the  center  of  college  life  in  Asia. 

It  contains  the  tomb  of  Tamerlane  and 
the  ruins  of  many  grand  buildings. 

Even  in  its  decay  its  public  square  is 
said  to  rival  that  of  St.  Mark’s  at  Ven- 
ice. The  surrounding  country  is  very 
fertile,  and  noted  for  its  beauty,  fine 
fruits,  and  delightful  climate. 

Tamerlane  brought  artists  from  Persian 
captured  Persian  cities  to  his  capital; 
and  so  the  art  of  rug-weaving  was  con- 
veyed to  these  people  by  experts,  and 

229 


How  to  Know  Oriental  Rugs 

to-day,  although  hundreds  of  miles 
from  Persia,  we  see  traces  of  her  influ- 
ence, although  the  Chinese  character- 
istics predominate. 

Rugs  The  Samarkand  rugs  are  of  fine, 
loose  texture,  almost  like  silk  with  their 
rich,  heavy  nap.  Antiques  are  rare 
and  of  exceptionally  refined  colors,  and 
the  modern  fabrics  are  very  attractive. 

Design  The  field  is  usually  blue  or  red,  but 
sometimes  golden  brown,  soft  fawn,  or 
a mellow  gray,  with  the  Chinese  fret 
or  wavy  lines  covering  it,  and  with 
from  one  to  five  disks  in  soft  yellow, 
red,  or  blue,  symmetrically  scattered 
through  it.  Within  each  disk  is  often 
the  figure  of  a dragon  surrounded  by 
cloud  bands.  Or  sometimes  the  center 
is  divided  into  squares  with  conven- 
tional designs  within.  In  the  modern 
rugs  there  is  often  a fretwork  border- 
ing the  field  within  the  border  proper. 
The  borders  consist  of  coordinate 
230 


SAMARKAND 

Loaned  by  Mannheimer  Bros.,  St.  Paul,  Minn. 


Chinese  Bugs 

stripes,  sometimes  the  outer  one  a little 
wider  than  the  others,  and  finished  with 
a band  of  solid  color.  The  inner  bor- 
der usually  has  the  Greek  meander,  the 
outer  one  with  floral  patterns  connected 
with  the  wavy  lines  of  the  Persian  bor- 
ders, and  the  middle  one  has  figures 
corresponding  to  the  center. 

The  warp  is  coarse  cotton  or  silk,  the  Materials 
woof  cotton  or  wool,  and,  like  the  Ka-  and  Flnlsh 
saks,  is  thrown  across  a number  of 
times  between  each  row  of  knots.  The 
pile  is  of  loosely  spun  wool  or  of  silk 
and  wool.  The  sides  are  selvaged, 
sometimes  in  two  colors  like  the  Yomut 
rugs,  and  the  ends  are  finished  like  the 
Turkoman  rugs,  with  web  and  fringe. 

The  sizes  are  from  three  by  six  to  Size 
nine  by  fifteen  feet.  The  modern  rugs 
have  deteriorated  somewhat  from  the 
high  standards  of  early  times. 


231 


IX 


SILK  RUGS 


IX 


SILK  RUGS 

Silk  rugs  of  most  exquisite  work- 
manship, by  some  considered  the  mas- 
terpieces of  the  loom,  have  been  woven 
in  Persia,  Turkey,  India,  and  China. 
They  were  made  for  palaces  and 
mosques  under  the  patronage  of  roy- 
alty, and  no  expense  was  spared  to 
make  them  perfect  specimens  of  the 
handicraft  of  carpet-weaving.  Many 
of  the  most  beautiful  ones  have  been 
gifts  to  Mecca,  or  some  other  sacred 
city,  for  the  Mohammedan  rulers  vied 
with  each  other  in  making  rich  gifts  to 
their  shrines.  The  interior  of  the 
mosque  at  Meshed  is  famed  for  its  gor- 
geous carpets,  which  harmonize  so  well 
with  the  splendor  of  its  iridescent  tiled 

235 


Masterpieces 
of  this  Art 


Persian 


How  to  Know  Oriental  Bugs 

walls ; and  the  temples  of  the  dervishes 
are  said  to  be  rich  in  these  art  treasures. 
An  antique  Persian  “Hunting  Carpet,” 
a Turkish  prayer-rug  with  its  mihrab 
and  hanging-lamp  looking  almost  like 
stained  glass,  an  Indian  floral  carpet 
with  its  long  pile,  said  to  resemble  the 
brilliant  plumage  of  their  native  birds, 
or  a Chinese  rug  of  imperial  yellow, 
are  any  of  them  rare,  and  are  to  this  art 
what  the  works  of  the  old  masters  are 
to  the  art  of  painting. 

Kashan,  between  Teheran  and  Ispa- 
han, was  in  Shah  Abbas’s  time,  as  it  is 
to-day,  the  center  of  the  silk-rug  indus- 
try in  Persia.  The  antiques,  with  their 
gorgeous  colors,  fine  texture,  and  me- 
tallic luster — real  works  of  art — seem 
suited  to  rooms  of  Louis  XVI  style,  or 
in  keeping  with  brilliant  decorations,  as 
those  of  St.  Mark’s  at  Venice.  The 
old  “Hunting  Carpets,”  with  elaborate, 
detail  work,  showing  in  their  designs 
236 


PERSIAN  SILK 

Loaned  by  Kent-Costikyan,  New  York  City 


Chinese  Rugs 

forests  with  hunters  and  dogs  pursuing 
animals  of  the  chase,  rugs  with  ex- 
quisite floral  designs  with  birds,  those 
with  a medallion  on  a plain  center,  as 
well  as  the  prayer  pattern,  are  all  found 
among  the  old  silk  carpets.  The  col- 
ors—red,  rose  shades,  turquoise  and  the 
fare  old  blue,  deep  wine,  ivory,  and 
green- — in  silk  have  less  warmth  and 
softness  than  the  fine  wool  carpets,  but 
often  possess  iridescent  luster  not  seen 
in  any  other  rugs. 

The  modern  reproductions  of  the 
old  in  design  and  color  are  of  much 
better  quality  and  workmanship  than 
the  rugs  of  Anatolia.  They  are  seldom 
made  as  large  or  as  elaborate  in  design 
as  many  of  the  antiques ; the  usual  size 
is  four  by  six  feet.  The  warp  and  woof 
are  often  of  silk,  and  they  are  finished 
with  narrow  web  and  fringe. 

The  antique  Anatolian,  or  Turkish 
silk  rug,  follows  the  designs  of  the 

237 


Modern 

Persian 


Turkish 


Modern 


India  and 
Chinese 


How  to  Know  Oriental  Rugs 

Ghiordes  wool  rug,  having  the  temple 
design  with  its  lamp,  showing  that  it 
was  intended  for  sacred  use.  The  in- 
tricacy of  design  in  the  borders  and  in 
the  spandrels  above  the  point  is  height- 
ened by  the  fine  material. 

The  modern  rugs  are  of  two  grades : 
the  better  one,  made  in  the  Sultan’s 
factory  at  Hereke,  rivals  the  modern 
Persians  in  quality  and  follows  them  in 
design,  as  well  as  reproduces  the  an- 
tique Turkish  patterns;  while  those 
made  at  Kaisarieh  are  purely  Turkish 
in  design  and  less  desirable  in  coloring, 
dyes,  and  workmanship. 

The  India  and  Chinese  silk  rugs  are 
extinct.  The  India  rugs  resembled  the 
Persian  in  design,  but  with  much 
Hindu  feeling,  and  the  Chinese  dif- 
fered not  in  design  from  the  wool  rugs 
of  Peking. 


23S 


INDEX 


INDEX 


A 

Afghan  rugs,  see  Khiva. 
America,  rugs  in,  22. 

Amritsar  rugs,  215. 

Anatolian  rugs,  see  Turkish. 
Anilin  dyes,  43,  44,  55,  64, 
in,  160,  225. 
Animal  figures,  53. 

Arabic  rugs,  102. 

Ardahan  rugs,  215. 

Ardebil,  Holy  Carpet  of,  52, 

IOO-IOI. 

Asia  Minor,  Greeks  of,  21. 
rugs  of,  155-177. 

B 

Babylonia,  rugs  of,  20. 
Bakshaish  rugs,  93-94. 
Beluchistan  rugs,  1 92-1 94. 
Bergamo  rugs,  167-169. 
Bijapur  rugs,  215. 

Bokhara  rugs,  182-187. 

C 

Cabistan  rugs,  1 1 5-1 1 7. 
Camel’s  hair,  37. 

Candahar  rugs,  215. 

Cashmere  rugs,  1 27-1 30. 


Caucasian  rugs,  103-135. 

classification  of,  104. 
Caucasus,  the,  105-108. 
Cawnpore  rugs,  215. 

Chichi,  see  Tzitzi. 

Chinese  rugs,  21 7-231. 

classification  of,  218. 
Chinese  silk  rugs,  238. 

Chinese  Turkestan  rugs,  227- 
229. 

Color,  38-39. 

D 

Daghestan  rugs,  m-115. 
Derbend  rugs,  1 21-123. 
Designs,  animal  figures,  53. 
charm  of,  44. 
classes  according  to,  47. 
floral,  48—50. 
geometrical,  50. 
imitations  of  nature,  47. 
influence  of  religious  cen- 
ter on,  69. 

of  Caucasian  rugs,  109- 
no. 

of  Chinese  rugs,  221. 
of  India  rugs,  205. 
of  Kurdistan  rugs,  141— 
142. 


24I 


How  to  Know  Oriental  Rugs 


Designs  of  Persian  rugs,  64. 
of  Turkish  rugs,  159. 
origin  of,  45-46. 
symbolism  in,  5 1-52,  222. 
Dyes,  39-44;  see  Anilin. 

E 

Egypt,  rug-making  in,  19. 
England,  22. 

“ Extra  Persian  **  rugs,  99. 

F 

Feraghan  rugs,  88-91. 

Floral  designs,  see  Designs. 

G 

Genghis  rugs,  see  Guenja. 
Geometrical  designs,  50. 
Ghiordes  rugs,  161-165. 
Gorevan  rugs,  93-94. 

Guenja  rugs,  126-127. 
Gulistan  rugs,  177. 

H 

Hamadan  rugs,  95-96. 
Handicraft  of  rug-weaving,  1 9, 

25>  36. 

Herat  rugs,  71-73.’ 

Herez  rugs,  93-95. 

“Holy  Carpet’*  of  Ardebil, 
52,  IOO-IOI. 

I 

India  rugs,  195-21 5. 
modern,  210-21 5. 

242 


Iran,  use  of  term,  91. 
Ispahan  rugs,  99-100. 

K 

Kaisarieh  rugs,  1 73-1 75. 
Karabagh  rugs,  13  3-134, 
Karajagh  rugs,  135. 
Kasak  rugs,  123-126. 
Kashan,  100,  236. 
Kashgar  rugs,  228. 
Kermanshah  rugs,  78-80. 
Khilim,  85. 

Kurdish,  151. 

Merv,  187. 

Senna,  85. 

Shirvan,  132. 
Turkish,  175-176. 
Khiva  rugs,  189-191. 
Khorasan  rugs,  65-68. 
Khotan  rugs,  228. 

Kirman  rugs,  76-80. 
Knots,  kinds  of,  33. 
Koulah  rugs,  165-167. 
Kurdistan  rugs,  1 37-1 52. 
classification  of,  138. 
khilim,  1 51-152. 
Persian,  141-144. 
Turkish,  146-148. 
Kurk,  37. 

L 

Ladic  rugs,  169-170. 
Lahore  rugs,  215. 

Latch  hook,  50,  HO. 
Lule,  see  Sarakhs. 


Index 


M 

Malgaran  rugs,  119-121. 
Masulipatam,  207. 

I 44  Mecca  ” carpets,  75. 

Melt’s  rugs,  see  Milas. 

Merv  khilim,  187. 

Meshed  rugs,  69-70. 

Milas  rugs,  1 70-1 71. 
Mirzapoor  rugs,  215. 

Mossoul  rugs,  148-151. 
xMuskabad  rugs,  99. 

N 

Ning-hsai  rugs,  226-227. 

P 

Palm,  see  Designs, 
j Peking  rugs,  223-225. 

| Persia,  20,  59-61. 

I Persian  rugs,  57-102. 

classification  of,  58. 

44  Polish  carpets,”  38. 
Prayer-rug,  24,  ill,  159,  186, 
236. 

Punjab  rugs,  215. 

Pushmina,  37,  204. 

R 

Rugs,  antiques,  54. 

artistic  merits  of,  26. 
classes,  47. 
demand  for,  1 1 . 
desirable  qualities  of,  1 2. 
deterioration  of,  55. 
expression  of  individual,  26. 


Rugs,  finish  of,  34. 
literature  of,  13. 
luster  of,  53. 
materials  of,  36-38. 
study  of,  56. 

time  taken  to  make,  34- 

35- 

44  treated,”  54. 

uses,  23—25. 

value  dependent  on,  54. 

S 

Saddle-bags,  24,  73,  76,  96, 
151,  187. 

Samarkand  rugs,  229-231. 
Saraband  rugs,  86-88. 

Sarakhs  rugs,  144-146. 

Saruk  rugs,  91-92. 

Savalan  rugs,  99. 

Sehna,  see  Senna. 

Senna  khilim,  85. 

Senna  rugs,  83-86. 

Serapi  rugs,  93-94. 

Shah  Abbas,  62. 

Shiraz  rugs,  73-76. 

Shirvan  khilim,  1 32-1 33. 

rugs,  1 31-13  3. 

Silk,  38. 

Silk  rugs,  233-238. 

Soumak  rugs,  see  Cashmere. 
Spain,  21. 

Sultanabad  rugs,  97-99. 
Swastika,  50,  51,  no. 
Symbolism,  51-52,  222. 

24  3 


How  to  Know  Oriental  Rugs 


T 

Tabriz  rugs,  80-83. 

Tekk£  rugs,  see  Bokhara. 
Tientsin  rugs,  225-226. 

“ Tree  of  Life,”  49. 
Turkish  khilim,  175-176. 
Turkish  rugs,  153,  177. 
classification  of,  154. 
modern,  176-177. 
Turkoman  rugs,  1 79-1 94. 

classification  of,  180. 
Tzitzi  rugs,  118-119. 


W 

Weaving,  process  of,  30-32. 

tools  for,  32-33. 
Women  weavers,  28. 

Wool,  36-37. 

Y 

Yarkand  rugs,  228. 

Yomut  rugs,  187-189. 
Yuruk  rugs,  171-173. 


THE  END 


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GETTY  CENTER  LIBRARY 


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